REESE  LIBRARY 


UNIVERSITY  OF  CALIFORNIA. 


FORM,  DRAWING,  AND  COLOR 


PUBLIC  SCHOOLS  OF  THE  STATE  OF  NEW  YORK 


BASED   UPON  THE  OFFICIAL  DOCUMENTS  ISSUED  BY  THE  BOARD   OF 

REGENTS  AND   THE  DEPARTMENT  OF  PUBLIC  INSTRUCTION 

IN  THE  STATE  OF  NEW  YORK 


SPECIALLY  ARRANGED  TO  MEET  THE   REQUIREMENTS 

FOR   REGENTS'   AND    UNIFORM   EXAMINATIONS 

IN   THESE   SUBJECTS 


BY 

ELTSA  A.   SARGENT 


THE  PRANG  EDUCATIONAL   COMPANY 
NEW   YORK 


S3 


COPYRIGHT,  1898, 
*  -»    BY  THE  PRANG  EDUCATIONAL  COMPANY. 


Norfaooti 

J.  S.  Gushing  &  Co.  -  Berwick  &  Smith 
Norwood  Mass.  U.S.A. 


PREFACE. 


THE  following  pages  cover  the  general  features  of  the  work  which 
forms  the  basis  of  :  — 

a.  The  Regents'  Examination  in  Form  Study  and  Drawing  for  the  First 

Year  Academic  Certificate  and  the  Second  Year  Academic  Certifi- 
cate, as  given  in  the  Regents'  Bulletin  No.  8,  issued  June,  1895. 

b.  The  Uniform  Examinations  in  Form,  Drawing,  and  Color  for  Training 

Class,  Third,  Second,  and  First  Grade,  and  Special  Drawing  Certifi- 
cates, as  given  in  the  Syllabus  £»f  Drawing,  issued  by  the  Department 
of  Public  Instruction  in  1896. 

The  courses  of  study  in  Form  Drawing  and  Color  laid  out  in  the 
text-books  of  the  Prang  Educational  Company  cover  fully,  clearly,  and 
practically  all  the  requirements  both  of  the  Regents  and  of  the  State  De- 
partments. The  general  method  of  The  Prang  Courses  is  that  of  modern 
progressive  educational  thought — "learning  to  do  by  doing,"  under 
wise  guidance.  The  Prang  text-books  so  arrange  and  present  the  lessons, 
that  pupils  learn  through  actual  experience  in  various  interesting,  .cor- 
related lines  of  work,  to  deduce  definitely  and  correctly  the  technical 
principles  underlying  that  work.  The  resulting  grasp  of  the  necessary 
technical  principles  is  found  to  be  thoroughly  satisfactory,  both  when 
judged  by  the  general  standards  of  Art  Education  and  when  submitted 
to  the  special,  official  tests  of  the  Regents  and  of  the  Department  of  Public 
Instruction. 


iv  PREFACE. 

It  is  the  object  of  this  publication  to  show  the  sequence  of  the 
requirements  both  of  the  Department  of  Regents  and  the  Department  of 
Public  Instruction,  and  to  indicate  in  definite  detail  to  the  schools  using 
the  Prang  text-books  and  materials  how  to  use  these  text-books  and 
materials  so  as  to  fully  meet  these  requirements. 

The  requirements  for  the  Regents'  examination,  and  such  matter 
as  is  taken  from  the  requirements  of  the  Department  of  Public  Instruc- 
tion, are  given  precisely  in  the  words  of  the  official  syllabi,1  and  the 
principles  called  for  are  illustrated  by  various  examples ;  references  are 
given  to  show  where  these  principles  are  fully  illustrated  by  definite, 
practical  work  in  the  Prang  drawing  books,  manuals,  and  other 

publications. 

1  In  Roman  type. 


CONTENTS. 


PAGE 

PREFACE iii 

INTRODUCTION  1-6 


SUGGESTIONS  FOR  PREPARATIONS  FOR  REGENTS'  EXAMINATIONS. 

GENERAL  STATEMENT  OF  REGENTS'  REQUIREMENTS 9-12 

REQUIREMENTS  FOR  FIRST  YEAR  ACADEMIC  CERTIFICATE  — 

A.    REPRESENTATION,  OR  PICTORIAL  DRAWING. 

1.   Pictorial  Drawing.      2.  Light  and  Shade.      3.  Theoretic  Perspective. 

4.  Pictorial  Drawing  of  Types  of  Form.      5.   Drawing  of  Objects 
Resembling  Types  of  Form.     6.  Examples  of  Pictorial  Drawings  of 
Objects  Resembling  the  Types  of  Form.     7.  Materials  for  Teaching 
Pictorial  Drawing 13-28 

B.    DECORATION,  OR  DECORATIVE  DESIGN. 

1.  Description  of  Decorative  Drawings.  2.  General  Principles  of  Deco- 
rative Design.  3.  Requirements  in  and  Examples  of  Historic 
Ornament,  —  Egyptian,  Greek,  Roman,  Byzantine,  Romanesque, 
Saracenic,  and  Gothic  Styles.  4.  Laws  of  Decorative  Arrangement. 

5.  Materials  for  Teaching  Decorative  Design    .         .         .         .         .       29-47 

C.    CONSTRUCTION,  OR  GEOMETRIC  AND  WORKING  DRAWINGS. 

1.  Instruments  aad  Their  Use.  2.  Geometric  Constructions.  3.  Geo- 
metric Design.  4.  Working  Drawings.  5.  Requirements.  6.  Exam- 
ples to  Illustrate  Requirements.  7.  Materials  for  Teaching  Working 
Drawings 48-65 

SUGGESTED  COURSE   TO  PREPARE  FOR  THE  EXAMINATION  FOR  THE  FIRST 

YEAR  ACADEMIC  CERTIFICATE .       66-67 

v 


vi  CONTENTS. 

PAGE 

REQUIREMENTS  FOR  SECOND  YEAR  ACADEMIC  CERTIFICATE  — 
A.    REPRESENTATION,  OR  PICTORIAL  DRAWING.' 

1.  Freehand  Drawing,  —  Grouping,  or  Composition.  2.  Instrumental 
Drawing,  —  Mechanical  Perspective.  3.  Materials  for  Teaching 
Freehand  and  Instrumental  Perspective 70-83 

B.    DECORATION,  OR  DECORATIVE  DESIGN. 

9 

1.  Requirements  in  Decorative  Design.  2.  Requirements  in  and  Descrip- 
tions and  Examples  of  the  Styles  of  Historic  Ornament,  including 
the  Egyptian,  Greek,  Roman,  Byzantine,  Romanesque,  Saracenic, 
Gothic,  and  Renaissance  Styles.  3.  Materials  for  Teaching  Deco- 
rative Design 84-109 

C.    CONSTRUCTION,  OR  GEOMETRIC  AND  WORKING  DRAWINGS. 

1.  Geometric  and  Working  Drawings.  2.  Surface  Developments  and 
Patterns.  3.  Isometric  Projection.  4.  Materials  for  Teaching 
Geometric  and  Working  Drawings  ......  110-117 

SUGGESTED  COURSE  TO  PREPARE  FOR  THE  SECOND  YEAR  ACADEMIC  CER- 
TIFICATE .  118-119 


SUGGESTIONS  FOR  PREPARATION  FOR  UNIFORM  EXAMINATIONS. 

INTRODUCTION 123 

GENERAL  STATEMENT  OF  REQUIREMENTS  — 

A.    REQUIREMENTS  IN  COLOR. 

1.  The  Value  of  Color  Study.     2.  Classification  of  Colors.     3.  Tones  of 

Colors.     4.  Color  Harmony.     5.  Materials  for  Teaching  Color         .  124—130 

B.  REQUIREMENTS  IN  PROJECTION        .... 

C.  REQUIREMENTS  IN  THEORETIC  PERSPECTIVE     . 

D.  SUGGESTIONS  FOR  ILLUSTRATIVE  DRAWING. 

1.  Subjects  from  Nature.     2.  Historic  Houses.     3.  Illustration  of  Poems 

and  Stories.     4.  Materials  for  Teaching  Illustrative  Drawing  .  132-136 

SUGGESTIONS  FOR  PREPARATION  FOR  EXAMINATIONS      .         .         .         .         .  137 

SUGGESTED  COURSE  TO  PREPARE  FOR  FIRST  GRADE  EXAMINATION      .  138 


INTRODUCTION. 


IN  order  to  make  the  contents  of  this  work  on  the  subject  of 
Drawing  in  the  State  of  New  York  better  understood,  not  only  by  those 
who  will  use  it  under  the  requirements  of  the  State  Departments,  but  also 
by  those  who  are  desirous  of  passing  examinations  in  this  subject  in  other 
States,  it  seems  best  to  set  forth  clearly  the  conditions  under  which  the 
Syllabi  of  Drawing  issued  by  the  Department  of  Regents  and  by  the 
Department  of  Public  Instruction  are  made,  to  state  the  limitations  as 
to  time,  etc.,  imposed  by  these  departments  upon  candidates  for  examina- 
tions, and  to  show  in  what  way  materials  may  be  used  and  courses  of 
study  adjusted  so  as  to  aid  in  the  carrying  of  the  required  work  to  the 
desired  end. 

THE    PURPOSE   AND    MEANING  OF   THE    SYLLABI  OF  DRAWING  ISSUED 

BY  THE  DEPARTMENT  OF  REGENTS  AND  THE  DEPARTMENT  OF 

PUBLIC  INSTRUCTION  IN  THE   STATE   OF  NEW  YORK. 

Syllabus  from  the  Department  of  Regents.  —  On  page  272  of  the 
Regents'  Bulletin,  No.  8,  we  read :  — 

"  This  detailed  syllabus  was  prepared  to  indicate  definitely  the  scope  and 
character  of  the  examinations  in  the  several  subjects." 

This  clearly  states  the  purpose  of  the  syllabi  in  all  the  subjects,  and 
the  syllabus  of  drawing  given  in  this  Bulletin  may,  therefore,  be  taken 
to  be  a  statement  of  what  will  be  required  in  the  Regents'  Examinations 
in  this  subject. 

1 


2  INTRODUCTION. 

Syllabus  from  the  Department  of  Public  Instruction.  —  In  the  preface 
of  the  pamphlet  issued  by  the  Department  of  Public  Instruction  called 
"Drawing  for  Use  in  Teachers'  Institutes  and  Training  Classes,"  the 
statement  of  the  purpose  of  this  syllabus  of  work  is :  — 

"The  following  lessons  in  drawing  are  intended  as  a  guide  for  use  in 
teachers'  training  classes  and  teachers'  institutes  throughout  the  State.  They 
are  designed  to  present  in  order  the  most  important  elementary  principles 
underlying  the  study  of  the  subject  to  those  who  are  preparing  to  teach." 

This  plainly  states  that  the  matter  included  in  the  pamphlet  is  a 
guide  or  course  of  study  to  be  followed  in  the  classes  and  institutes  named, 
in  order  that  the  students  of  those  classes  and  the  teachers  attending  the 
institutes  may  pass  the  Uniform  Examinations  in  the  subject  of  drawing 
prescribed  by  the  Department  of  Public  Instruction.  Its  purpose  is, 
therefore,  made  clear,  —  it  is  a  definite  plan  to  be  followed  in  the  instruc- 
tion of  students  and  of  teachers,  and  is  the  course  of  study  on  which  the 
examinations  will  be  based. 

Comparison  of  the  two  Syllabi  of  Drawing  as  to  their  Purpose  and 
Meaning.  —  This  difference  of  purpose  in  the  two  syllabi  is  due  to  the 
difference  in  the  relation  of  the  two  departments  to  the  schools  of  the  State. 
The  Department  of  Regents  is  an  examining,  but  not  an  instructing, 
body ;  the  Department  of  Public  Instruction  is  both  an  examining  and  an 
instructing  body ;  —  the  Department  of  Regents  deals  with  the  students 
in  the  grammar  and  high  schools  of  the  State  for  the  purpose  of  lifting 
the  educational  standards  of  these  schools ;  the  Department  of  Public 
Instruction  deals  with  the  teachers  of  the  state  for  the  purpose  of  pre- 
scribing the  standards  of  admission  into  the  teaching  force,  in  order  that 
educational  standards  may  be  regulated  by  this  department  through  the 
State  corps  of  teachers.  The  purpose  and  meaning  of  the  Regents'  Syllabus 
of  Drawing  must,  therefore,  differ  from  that  of  the  Department  of  Public 
Instruction,  ii\  that  the  former  is  only  indicative  of  the  trend  and  scope  of 
the  examinations,  while  the  latter  is  a  positive  requirement  of  preparation 
as  well  as  a  basis  for  examinations. 


INTRODUCTION.  3 

LATITUDE   IN  COURSES   OF   STUDY  AND    MATERIALS  FOR  USE   IN  THE 
PREPARATION  OF   STUDENTS   TO  MEET  EXAMINATIONS. 

On  page  272  of  the  Regents'  Bulletin,  No.  8,  it  is  stated :  — 

"The  outlines  of  work  given  in  this  syllabus  are  not  designed  to  prevent 
necessary  freedom  and  flexibility  in  the  arrangement  of  courses  of  study  for 
New  York  secondary  schools.  The  plan  of  alternative  questions  and  the 
selection  of  broad  but  fundamental  topics  reduce  to  a  minimum  the  chance  of 
failure  in  the  case  of  any  student  with  an  adequate  preparation." 

The  Regents'  Syllabus  of  Drawing  states  the  broad  principles  of  the 
subject  and  also  states  the  particular  points  upon  which  pupils  may  expect 
to  be  examined.  The  Department  of  Public  Instruction,  using  its  special 
privileges  as  an  instructing  body,  sketches  in  its  syllabus  of  drawing  a 
course  of  study  as  a  basis  for  instruction  and  examination  in  such  classes 
and  bodies  as  come  directly  under  its  control. 

From  the  above  statements  in  the  Regents'  Bulletin  it  will  be  seen 
that  any  text-books  in  the  subject  of  drawing,  that  will  meet  the  require- 
ments of  the  Regents'  Syllabus  in  this  subject,  may  form  a  basis  of 
instruction  for  Regents'  Examinations.  The  syllabus  of  drawing  issued 
by  the  Department  of  Public  Instruction  holds  itself  as  a  guide  for  the 
preparation  of  classes  to  meet  the  Uniform  Examinations,  and  refers  to- 
the  Regents'  Syllabus  of  Drawing  as  a  completion  of  the  course  of  study 
it  sketches. 

In  the  preface  of  "  Drawing  for  Use  in  Teachers'  Institutes  and 
Training  Classes,"  the  following  statement  is  found  :  — 

"For  the  treatment  of  advanced  drawing,  decoration,  historic  ornament, 
and  a  more  elaborate  presentation  of  pictorial  drawing,  the  teachers  are  referred 
to  the  Regents'  Syllabus." 

Any  books,  therefore,  that  will  meet  the  requirements  of  this  guide 
or  course  of  study  and  the  requirements  of  the  Regents'  Syllabus  in 
drawing  will  be  valuable  aids  in  the  carrying  out  of  the  course  in  drawing 
for  Uniform  Examinations. 


4  INTRODUCTION. 

PREPARATION  OF  STUDENTS   TO   MEET   THE   REQUIREMENTS  OF  THE 
REGENTS'  AND   UNIFORM  EXAMINATIONS. 

The  matter  of  haste  in  the  taking  up  of  the  work  in  drawing  either 
for  direct  preparation  for  the  Regents'  or  for  the  Uniform  Examinations  is 
a  thing  to  be  carefully  considered  both  from  the  standpoint  of  justice  to 
pupils  and  that  of  loyalty  to  the  demands  of  the  State  Departments.  The 
taking  up  of  Elementary  and  sometimes  Advanced  Drawing  in  pre- 
academic  years  in  the  school  course,  and  taking  the  drawing  for  the 
Training  Class  Certificate  in  the  first  high  school  year,  often  lead  to  dis- 
couragement and  to  a  want  of  appreciation  of  the  subject  either  as  to  its 
direct  benefits  to  the  students  or  as  to  its  importance  as  an  educational 
factor.  The  shortening  of  the  required  course  of  one  hundred  lessons  for 
the  preparation  of  students  to  meet  either  of  the  Regents'  examinations 
in  drawing  (Bulletin  No.  8,  page  438,  Group  5,  —  drawing  a  two-count 
subject,  or  a  subject  which  is  to  receive  five  lessons  a  week  for  twenty 
weeks)  is  also  a  source  of  anxiety  and  of  final  discouragement  to  teachers 
and  pupils,  and  often  of  a  feeling  of  unjust  antagonism  to  the  examining 
body. 

The  statements  in  the  Regents'  Bulletin  concerning  the  period  of 
preparation  for,  and  the  time  for  the  taking  of  examinations  in,  drawing 
seem  sufficiently  definite  not  to  be  misunderstood.  In  Bulletin  No.  8, 
page  271,  will  be  found  the  statement :  — 

"  It  is  purposed  in  the  preparation  of  these  questions  to  keep  iu  view  what 
may  fairly  be  expected  from  students  in  academies,  and  not  to  go  beyond  what 
their  age  and  opportunities  will  warrant." 

On  page  273  of  the  Bulletin,  referring  to  the  Eight-year  Elementary 
Course,  which  places  Elementary  Drawing  in  the  first  and  Advanced 
Drawing  in  the  second  academic  year,  this  statement  is  made  :— - 

"This  classification,  however,  shows  the  degree  of  maturity  expected  of 
candidates  for  the  examination  in  each  study,  and  is  intended  as  a  guide  for 
both  those  who  issue  the  questions  and  for  those  by  whom  the  questions  are  to 
be  answered." 


INTRODUCTION.  5 

The  Bulletin  further  states,  on  page  279,  as  if  to  emphasize  the 
preceding  points :  — 

"It  is  highly  probable,  therefore,  at  the  next  revision  (of  the  Syllabus) 
drawing  will  be  included  in  the  subjects  of  examination  for  the  preliminary 
certificate." 

In  other  words,  the  Regents'  examinations  in  drawing  will  be  pre- 
pared for  academic  pupils  of  the  first  and  second  years,  and  it  should  not 
be  expected  that  for  less  mature  pupils  (of  the  two  highest  grammar 
grades)  a  diminution  of  requirement  will  be  made  to  meet  their  lack  of 
growth  in  judgment,  or  lack  of  preparation  because  of  haste  to  advance 
in  the  school  course  more  rapidly  than  is  indicated  by  the  State  require- 
ments. 

The  Bulletin  also  states,  on  page  279,  as  another  species  of  check  :  — 

"  All  academic  tests  will  be  within  the  limits  of  the  syllabus,  and  will  be 
based  on  what  may  properly  be  expected  from  academic  students  after  they 
have  had  instruction  for  the  time  assigned  in  the  courses  of  study." 

This  strengthens  the  foregoing  statements  by  adding  a  caution,  as  it 
were,  against  limiting  the  time  of  actual  preparation. 

The  above  statements  show  conclusively  that  the  Department  of 
Regents  places  drawing  with  the  academic  subjects  and  does  not  now 
require  it  in  the  preparatory  work  of  the  grammar  grades.  It  is  also 
quite  definite  as  to  the  amount  of  time  to  be  spent  in  the  study  of  the 
subject.  Drawing  is,  therefore,  so  far  as  Regents'  Examinations  go, 
distinctly  an  academic  subject,  and  a  subject  for  which  a  special  allowance 
of  time  should  be  made. 

To  conclude,  on  page  437  of  the  Bulletin  this  statement  may  be 
found :  — 

"Principals  should  not  form  classes  in  advanced  subjects  with  immature 
pupils." 

As  stated  before,  the  taking  of  the  work  in  drawing,  preparatory  to 
examinations,  at  too  early  a  period  and  for  too  short  a  time  has  been  the 
cause  of  most  of  the  discomfort  attendant  upon  failures  not  only  in 


6  INTRODUCTION. 

Regents'  Examinations,  but  also  in  all  the  other  examinations  in  drawing 
of  the  State.  It  would  seem  to  be  the  duty,  therefore,  of  any  one  inter- 
ested in  the  proper  preparation  of  students  of  any  class  to  urge  that  the 
work  in  drawing  be  taken  in  such  years  and  for  such  periods  as  the 
Department  of  Regents  or  the  Department  of  Public  Instruction  may 
require. 

PLAN  OF  THIS  WORK  ON  THE  REGENTS'  AND  UNIFORM  EXAMINATIONS. 

In  the  following  pages  the  attempt  has  been  made  to  take  up  each 
subject  presented  in  the  Syllabi  of  Drawing  issued  by  the  Department 
of  Regents  and  the  Department  of  Public  Instruction,  to  illustrate  the 
meaning  of  each  technical  point  presented,  to  indicate  where  further 
illustrations  of  these  points  may  be  found,  to  suggest  lists  of  books  which 
will  be  helpful  to  teachers  in  presenting  the  work  of  the  syllabi  to  pupils, 
and  to  suggest  courses  of  study  the  following  of  which  will  lead  to 
desired  ends  in  the  preparation  of  students  to  meet  the  examinations  of 
either  department. 

A  careful  study  of  the  requirements  of  the  two  departments  shows : 
first,  —  that  a  reasonable  course  of  study  in  drawing  below  the  academic 
grades,  supplemented  in  the  first  and  second  academic  years  by  the 
number  of  lessons  required  by  the  Regents  as  a  review  of  the  ground 
already  covered,  and  with  some  additional  points  in  projection  and  in 
theoretic  perspective,  should  adequately  prepare  for  the  Regents'  Exami- 
nations ;  second,  —  that  the  same  course  of  study  below  the  academic 
grades,  followed  by  the  work  required  by  the  Regents,  and  supplemented 
by  special  points  in  projection,  theoretic  perspective,  and  color,  will 
adequately  prepare  for  the  Uniform  Examinations. 

It  is  the  purpose  of  the  following  pages  to  so  explain  and  illustrate 
the  technical  matter  of  the  two  State  Syllabi  of  Drawing  as  to  be  able  to 
make  clear  the  fact  that  it  is  only  necessary  to  teach  clearly  the  points 
presented  in  these  syllabi  by  any  well  approved  method  in  order  to  pre- 
pare students  to  meet  the  State  requirements  in  drawing  with  reasonable 
security  as  to  the  results. 


SUGGESTIONS 


FOR  THE 


PREPARATION  OF  HIGH  SCHOOL  STUDENTS  TO  MEET 

THE  REGENTS'  EXAMINATIONS  IN  FORM 

STUDY  AND  DRAWING 


FOR 


FIRST   AND    SECOND   YEAR   ACADEMIC 
CERTIFICATES 


.     BASED  ON  THE   SYLLABUS   OF  DRAWING    IN  BULLETIN  No.  8, 
ISSUED   BY   THE   DEPARTMENT   OF   REGENTS   IN  THE 
STATE  OF  NEW  YORK,  JUNE,  1895 


"  This  detailed  syllabus  was  prepared  to  indicate  definitely  the  scope 
and  character  of  the  examinations  in  the  several  subjects.  ...  It  is 
not  designed  to  interfere  with  that  freedom  and  flexibility  which  ought 
to  exist  in  a  system  of  instruction  so  extended  as  that  conducted  in  the 
academies  of  the  state  ;  but  only  to  specify,  with  such  exactness  as  may 
be  practicable,  the  subjects  and  the  extent  in  each  subject  for  which  the 
candidates  in  these  examinations  will  be  held  responsible.  It  is  under- 
stood that  the  restrictions  laid  down  in  the  syllabus  are  intended  as  well 
for  those  who  prepare  and  issue  the  questions  as  for  those  who  are  to  be 
called  on  to  answer  them.  It  is  purposed  in  the  preparation  of  these 
questions  to  keep  in  view  what  may  be  fairly  expected  from  students  in 
academies,  and  not  to  go  beyond  what  their  age  and  opportunities  will 
warrant." — Bulletin  No.  5,  page  271. 


^v 

_    . 

GENERAL    STATEMENT 

OF   THE 

REGENTS'  REQUIREMENTS   IN   FORM   STUDY   AND 

DRAWING   FOR  BOTH   FIRST   AND   SECOND 

YEAR  ACADEMIC   CERTIFICATES. 

Introductory  note.  —  The  following  statements  and  requirements  are 
taken  from  Examination  Bulletin  No.  8,  issued  by  the  Department  of  Regents 
in  the  State  of  New  York,  in  June,  1895.  The  illustrations  of  principles 
are  taken  from  The  Prang  Drawing  Books  and  Manuals. 

Throughout  the  body  of  this  work  the  matter  in  Roman  type  is  taken 
from  the  Examination  Bulletin  of  the  Department  of  Regents  in  New  York 
State.  The  matter  in  italics  is  inserted  either  in  explanation  of  the  illus- 
trations or  in  a  fuller  explanation  of  the  subject  matter  as  presented  in 
the  Examination  Bulletin  or  in  the  Syllabus  of  Drawing. 

GENERAL  STATEMENTS  AS   TO  REGENTS'  REQUIREMENTS. 

Attention  of  teachers  and  candidates  is  directed  to  the  following 
suggestions  and  outline  of  requirements. 

NOTE.  —  The  "outline  of  requirements"  will  be  found  under  the  heads  of  REQUIRE- 
MENTS FOR  FIRST  YEAR  ACADEMIC  CERTIFICATE  and  REQUIREMENTS  FOR  SECOND  YEAR 
ACADEMIC  CERTIFICATE. 

The  first  examination  in  drawing  will  presuppose  at  least  twenty  weeks 
of  academic  instruction.  The  second  examination  will  presuppose  an 
additional  twenty  weeks  of  academic  instruction.  —  See  page  J$2  of 
Bulletin  No.  8. 

General  suggestions.  —  Drawing  is  primarily  a  means  of  expression. 
Satisfactory  results  cannot  be  expected  if  the  practice  in  drawing  is  con- 
fined to  the  drawing  class.  Like  writing,  it  should  be  applied  generally 
in  the  school  work  wherever  an  opportunity  is  offered,  and  abundant 


10  GENERAL   STATEMENT   OF   REQUIREMENTS. 

material  may  be  found  in  almost  every  subject.  .  Scenes  described  in 
the  reading  lessons  may  be  illustrated,  cuts  found  in  the  geography 
and  geology  may  be  reproduced,  plant  forms  may  be  drawn,  the  figures 
referred  to  in  mathematics  may  be  constructed,  etc. 

While  the  quality  of  line  and  finish  of  the  picture  depend  on  skill 
in  execution,  it  must  not  be  assumed  that  drawing  is  altogether  a  matter 
of  manual  training.  The  ability  to  represent  by  drawings  depends  in  a 
large  measure  on  the  development  of  imagination,  the  power  of  carrying 
in  mind  a  correct  and  vivid  picture  of  the  thing  to  be  represented.  This 
is  specially  true  in  industrial  drawings,  where  the  object  represented  is 
made  from  the  drawing,  not  the  drawing  from  the  object.  In  this  work 
the  order  of  development  is  mental  picture  —  the  drawing  —  the  object. 

The  study  of  the  object  is  of  course  essential,  but  the  student  should 
also  learn  to  draw  without  it.  In  all  examinations  models  are  to  be 
removed  from  the  sight  of  candidates. 

The  work  is  to  be  done  on  drawing  paper  8  by  10  inches,  and  all 
•drawings  are  to  be  made  suitable  in  size  to  fill  the  spaces  allowed.  The 
paper  should  be  placed  with  long  edges  from  left  to  right,  and  answers 
under  each  division  should  be  on  separate  sheets.  The  credits  allowed 
each  answer  depend  on  (a)  knowledge  of  principles,  (b)  execution. 

The  work  here  outlined  requires  to  a  great  extent  application  of 
principles  learned  by  study  of  type  forms  to  objects  in  nature  and  in  in- 
dustrial construction.  Special  emphasis  is  placed  on  the  necessity  of 
giving  careful  attention  to  execution.  Under  this  requirement  power  of 
expression  will  increase  as  the  work  progresses,  and  at  the  close  of  the 
course  a  high  degree  of  excellence  in  execution  will  be  expected. 

As  to  method  of  execution,  the  drawings  required  will  be  :  — 

a.  Freehand  drawings,  in  which  the  pencil  is  guided  by  the  hand  alone. 

b.  Instrumental  drawings,  in  which  the  pencil  is  accurately  guided 
by  mechanical  means. 

As  to  the  aim,  the  drawings  will  be :  — 

a.  Pictorial  drawings,  or  perspective,  representation  of  the  appearance 
of  objects. 


FORM   STUDY  AND   DRAWING. 


11 


NOTE. —  The  subject  of  mechanical  or  theoretic  perspective  is  fully  illustrated  in  the  division 
of  this  ivork  devoted  to  ADVANCED  DRAWING. 


The  pictorial  drawings  given  above   are  found  in  The  Prang  Complete 
Course,  Manual  Part  III.,  and  in  The  Manual  for  The  New  Graded  Course. 

b.  Decorative  drawings  or  ornamentation. 


Examples  of  surface  designs  from  conventionalized  plant  forms.  The 
decorative  designs  given  above  are  found  in  The  Prang  Complete  Course, 
Manual  Part  VII. 


12 


GENERAL  STATEMENT  OF   REQUIREMENTS. 


c.  Geometric  and  working  drawings,  consisting  of  geometric  con- 
structions, projections,  sections,  and  developed  surfaces. 


Geometric  constructions. 


Projections. 


Views  with  section. 


Developed  surface. 


The  illustrations  of  geometric  and  working  drawings  given  above  are 
from  The  Prang  Course  in  Art  Education. 

NOTE.  —  The,  preceding  statements  are  general  in  character,  and  are,  therefore,  illustrated  in 
a  very  general  way.  In  the  following  pages  the  specific  requirements  for  both  Ele- 
mentary and  Advanced  Drawing  are  fully  stated  and  the  illustrations  are  selected 
with  a  view  to  making  the  points  presented  clearly  comprehended. 


REQUIREMENTS 

FOR   THE 

EXAMINATION    IN    ELEMENTARY   DRAWING    FOR    THE 
FIRST   YEAR  ACADEMIC   CERTIFICATE. 

A.  REPRESENTATION  OR  PICTORIAL  DRAWING. 

*  Pictorial  drawings.  — Freehand  and  instrumental.  In  this  work 
the  quality  of  line  depends  on  the  character  of  the  object  represented 
and  the  conditions  under  which  it  is  seen.  If  it  is  near  the  observer, 
and  has  sharp,  well  denned  edges,  the  lines  should  be  well  denned.  If 
it  has  less  sharply  denned  edges,  or  if  it  is  remote  from  the  observer  or 
in  shadow,  its  outlines  should  be  represented  by  soft,  broad,  or  broken 
lines.  Contours  of  objects  with  smooth,  even  surfaces  are  indicated  by 
even,  narrow  lines ;  irregular  and  rough  surfaces  by  broader,  softer,  or 
broken  lines.  In  all  instrumental  work  the  lines  should  be  clear  and 
well  denned. 

Light    and    shade.  —  In    both    freehand    and    instrumental    work 
expression  by  light  and  shade  may  be  required. 


Example   of  rendering   in  light  and  shade. 
The  Prang  Complete  Course,  Book  No.  8. 

13 


This   drawing   is  from 


14 


REQUIREMENTS  FOR   FIRST   ACADEMIC   CERTIFICATE. 


Theoretic  perspective. —  It  is  expected  that  students  will  be  familiar 
with  the  following  terms  and  principles  of  scientific  perspective,  and 
will  be  able  to  apply  them  both  in  freehand  and  in  instrumental 
work :  — 

A  perspective  drawing  is  a  representation  of  an  object  presenting 
the  same  appearance  as  the  object  itself.  In  a  perspective  drawing  the 
object  is  conceived  of  as  seen  through  a  transparent  plane  called  the 
picture  plane.  Straight  lines  are  imagined  running  from  all  points  of 
the  object  to  the  eye.  The  points  where  these  lines  pierce  the  picture 
plane  are  points  of  the  perspective. 


Illustration  of  the  picture  plane.  The  window  answers  to  the  assumed 
vertical  plane  on  which  the  picture  is  to  be  drawn.  The  dotted  lines  show 
the  imaginary  lines  running  from  all  points  of  the  object  to  the  eye. 


REPRESENTATION   OR   PICTORIAL   DRAWING. 
1.    Position  affects  the  apparent  form  of  an  object. 


15 


Level  of  the  eye. 


Level  of  the  eve. 


Above  the  eye  —  facing  and  turned  at  45a 


Below  the  eye  —  facing  and  turned  at  45°. 
These  drawings  are  from  The  Prang  Course  in  Art  Education. 

2.    Distance  affects  the  apparent  size  of  an-  object ;   the  further  an 
object  is  from  the  eye,  the  smaller  it  will  appear. 


Illustration  of  apparent  decrease  in  size  with  distance  from  the  observer. 


16 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


3.  Lines  parallel  to  the  picture  plane  retain  their  direction  in  the 
perspective.  Hence,  vertical  lines  remain  vertical,  and  horizontal  lines 
parallel  to  the  picture  plane  remain  horizontal. 


Diagram  illustrating  the  picture  plane,  field  of  vision,  etc.,  and  showing 
how  vertical  lines  and  horizontal  lines  parallel  to  the  picture  plane  retain 
their  positions  in  perspective.  From  The  Prang  Complete  Course,  Manual 
Part  IV. 

NOTE.  —  This  drawing  is  one  of  a  complete  series  of  drawings  in  mechanical  or  theoretic 
perspective  which  may  be  found  in  The  American  Text  Books  of  Art  Instruction, 
Revised  Edition,  Books  XIII.  and  XIV.  Further  examples  of  this  series  of  draw- 
ings will  be  found  in  the.  division  of  this  work  given  -to  ADVANCED  DRAWING. 


REPRESENTATION   OR   PICTORIAL   DRAWING. 


17 


4.  Lines  not  parallel  to  the  picture  plane  appear  to  converge  as  they 
recede  from  the  eye.  The  point  toward  which  any  set  of  parallel  lines 
converges  is  called  the  vanishing  point. 


Level  of  the  Eye 


Diagram  illustrating  vanishing  points  at  45°.    From  The  Prang  Complete 
Course,  Manual  Part  IV. 


YJ>.1 


Level  of  the  eye. 


7.-P  & 


Diagram  illustrating  vanishing  points  at  30°  and  60°.  From  The  Prang 
Complete  Course,  Manual  Part  VI. 

o.  All  horizontal  lines,  not  parallel  to  the  picture  plane,  vanish  at 
the  level  of  the  eye.  Hence,  those  below  the  level  of  the  eye  slant 
upward  :  those  above -the  level  of  the  eye  slant  downward.  See  cuts  above. 

6.  Lines  perpendicular  to  the  picture  plane  vanish  at  a  point  directly 
in  fron't  of  the  eye.  This  point  is  called  the  center  of  vision. 

L^of  E.  VP 


Diagram  illustrating  lines  vanishing  at  the  center  of  vision  (v.  p..  is  at 
C.V.).    From  The  Prang  Complete  Course,  Manual  Part  IV. 


18 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


7.  All  horizontals  at  an  angle  of  45°  with  the  picture  plane  vanish 
in  points  at  the  right  or  left  of  the  center  of  vision,  and  as  far  from  it  as 
the  eye  is  from  the  picture  plane. 


Diagram  showing  how  vanishing  points  at  45°  are  determined. 


VPI.  HL.  MP2 


Diagram  showing  how  horizontals  at  45°  with  the  picture  plane  vanish. 

The  above  diagrams  illustrate  the  method  of  representing  horizontal  lines 
vanishing  at  points  equidistant  from  c.v.  (center  of  vision),  and  at  the  same 
distance  from  c.v.  as  the  eye  is  from  the  picture  plane.  The  line  of  direction 
(from  S.P.  or  station  point  to  c.v.)  denotes  the  distance  of  the  eye  from  c.v. 
The  first  diagram  shows  how  the  vanishing  points  (V.P.  i  and  2)  and 
measuring  points  (M.P.  i  and  2)  are  placed  when  an  object  is  to  be  drawn  at 
45°  to  the  picture  plane,  —  the  second  how  the  position  and  length  of  the 
horizontal  lines  which  represent  the  horizontal  edges  of  the  cub?  are  deter- 
mined by  the  aid  of  the  vanishing  and  measuring  points. 


REPRESENTATION  OR   PICTORIAL   DRAWING. 


19 


Types  of  form.  —  The  examination  will  require  drawings  of  :  — 

a.   The  following  type  solids  :  —  Sphere,  hemisphere,  ovoid,  spheroid 
(prolate  and  oblate),  cylinder,  circular  plinth,  and  cone. 


Sphere. 


Hemisphere. 


Ovoid. 


Prolate  spheroid. 


Oblate  spheroid. 


Cylinder. 


Cone. 


NOTE.  —  The  type  solids  given  above  are  to  be  considered  in  two  groups,  one  with  the  sphere 
as  a  central  type,  the  other  with  the  cylinder  as  a  central  type.  Relative  dimen- 
sions are  shown  by  diameters,  etc.,  in  each  group. 


20  REQUIREMENTS   FOR  FIRST   ACADEMIC   CERTIFICATE. 

Cube,  square  prism,  square  plinth,  triangular  prism,  square  pyramid, 
vase  form. 


Cube. 


Square  plinth. 


Square  prism. 


Triangular  prism. 


Square  pyramid. 


Vase  form. 


NOTE.  —  The  first  three  type  solids  given  above  and  the  square  pyramid  form  a  group  with 
the  square  prism  as  a  central  type.  The  first  four  may  be  classed  as  prisms. 
The  vase  is  a  compound  form. 


REPRESENTATION   OR   PICTORIAL   DRAWING.  21 

Objects  resembling  types  of  form. 

b.  Objects  resembling  a  sphere  and  spheroids,  as  an  apple,  a  peach, 
a  turnip. 

c.  Objects  having  a  general  cylindric  form,   as  a  box,   a  fruit  jar, 
a  tumbler,  a  stovepipe,  a  hat. 

d.  Objects  resembling  the  cone,  as  a  carrot,  a  thimble,  a  beet. 

e.  Objects  resembling  the  pyramid,  as  a  spire,  an  inkstand. 

/.  Objects  having  a  general  rectangular  outline,  as  a  box,  a  table, 
a  door,  a  house. 

g.   Leaves,  flowers,  trees,  and  other  plant  forms. 

Although  no  statement  is  made  concerning  groups  of  objects  in  the 
Syllabus  for  Elementary  Drawing,  the  Department  of  Regents  gives  such 
drawings  in  the  examination  for  the  F/'rsf  Year  Academic  Certificate. 

Examples  of  object  drawing. 

Examples  of  drawings  of  single  objects,  groups  of  objects,  leaves,  sprays,  • 
etc.,  will  be  found  in  the  following  pages.  These  drawings  have  been 
selected  to  illustrate  the  choice  of  objects  through  which  both  the  interest  of 
the  pupils  and  their  appreciation  of  the  laws  of  perspective  and  the  value 
of  good  drawing  and  good  rendering  may  be  secured.  They  have  also  been 
selected  with  a  view  to  the  possibilities  of  schoolrooms  in  the  way  of  providing 
materials  for  such  drawings,  either  within  the  room  or  from  the  windows. 
The  G-ate  of  Basle  and  Giotto's  Tower  are  chosen  as  examples  of  historic 
architectural  detail  well  ivorth  copying  both  for  the  sake  of  association  and 
for  their  architectural  value.  Longfellow's  description  of  the  latter  adds  to 
the  appreciation  gained  by  the  study  of  the  picture. 

"In  the  old  Tuscan  town  stands  Giotto's  tower, 
The  lily  of  Florence  blossoming  in  stone,  — 
A  vision,  a  delight,  and  a  desire,  — 
The  builder's  perfect  and  centennial  flower, 
That  in  the  night  of  ages  bloomed  alone." 


22  REQUIREMENTS  FOR  FIRST  ACADEMIC   CERTIFICATE. 


Examples  of  rendering  groups  of  fruits,   etc.,  in  outline.     From   The 
Prang  Elementary  Course  in  Art  Instruction,  Books  1  and  3. 


REPRESENTATION  OR  PICTORIAL  DRAWING. 


2S 


Examples  of  rendering  simple  objects  based  on  the  type  forms,  singly 
and  grouped.     From  The  Prang  Complete  Course,  Manual  Part  IV. 


24 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


"  On  its  sturdy  oaken  legs  it  trudges  diligently  from  one  scene  to  another,  and  seems 
always  to  thrust  itself  in  the  way,  with  most  benign  complacency,  whenever  an  historic 
personage  happens  to  be  looking  round  for  a  seat.'11  —  HAWTHORNE. 


Example  of  an  angular  object  rendered  in  outline.     From  The  Prang 
Complete  Course,  Book  No.  7. 


REPRESENTATION   OR   PICTORIAL   DRAWING. 


25 


Examples   of  rendering  in    outline    and   in    light   and   shade.      From 
The  Prang  Complete  Course,  Book  No.  7 ,  and  Manual  Part  IV. 


26  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


-^:^^:^""*"~"-<~..»r^   ^^^^s^^^^ 


Giotto's  Tower. 
'The  lily  of  Florence  blossoming  in  stone. 


The  Old  Gate  of  Basle. 


Examples  o/"  rendering  in  outline  and  in  light  and  shade  —  look  and 
towers.     From  The  Prang  Complete  Course,  Manuals  Parts  HI.  and  IV. 


REPRESENTATION  OR  PICTORIAL  DRAWING. 


27 


W)L  05? 


-'•-"A  ,-:dtf  Wi. 

-il';/i    fe 


Examples  of  rendering  branches.     From   The  Prang  Complete  Course, 
Manual  Part  IV. 


28  REQUIREMENTS   FOR  FIRST   ACADEMIC   CERTIFICATE. 


BOOKS,    MANUALS,   AND    MATERIALS    FOR    CARRYING   OUT   THE 
WORK   IN   REPRESENTATION   OR   PICTORIAL   DRAWING. 


Methods  of  instructing  pupils  in  the  foregoing  work  will  be  found  under 
the  head  of  REPRESENTATION  in  either  of  the  following  sets  of  books :  — 

1.  THE    PRANG    COMPLETE   COURSE,    Books    1-10    inclusive,  with    the 

accompanying  MANUALS. 

2.  THE    PRANG    NEW    ELEMENTARY    COURSE   IN    ART    INSTRUC- 

TION, Books   1-6  inclusive,  together  with  THE  PRANG  COMPLETE 
COURSE,  Books  7-10  inclusive,  with  the  accompanying  MANUALS. 

3.  THE  PRANG  COURSE  IN  DRAWING  FOR  GRADED  SCHOOLS, 

Books     1-6     inclusive,    together     with     THE     PRANG     COMPLETE 
COURSE,  Books  9  and   10,  with  the  accompanying  MANUALS. 

NOTE. — Bartholomew's  Sketches,  Elementary  Sets  i,  2,  and  3,  will  be  found  useful  with 
either  of  the  above  sets  of  books,  providing  excellent  material  for  gaining  techni- 
cal skill  in  representation  by  copying. 


DECORATION,   DECORATIVE   DRAWINGS. 


29 


B.    IN  DECORATION  OR  DECORATIVE   DESIGN. 

Decorative  drawings. — Freehand  and  instrumental.  This  subject 
deals  with  the  application  of  form  knowledge  to  the  enrichment  of 
surfaces  of  objects.  The  quality  of  line  depends  on  the  character  of 
the  drawing  to  be  made. 

All  designs  for  ornamentation  belong  to  this  department.  A  decora- 
tive design  differs  from  a  picture  in  that  its  purpose  is  to  give  pleasure 
by  beautifying  the  object  to  which  it  is  added,  while  the  purpose  of  a 
picture  is  to  give  pleasure  in  itself. 

In  a  picture  the  representation  of  the  object  in  light  and  shade,  with  all 
the  harmonizing  accessories  of  composition  of  line,  light  and  dark,  etc.,  is  the 
main  thing.  In  a  decorative  treatment  flie  composition  of  line,  mass,  and  color 
is  the  chief  element,  ichile  the  representation  is  carefully  kept.  The  drawing 
is  true  and  spirited,  but  ivithout  the  pictorial  element  and  the  modeling  given 
by  light  and  shade.  The  contrasts  are  not  of  light  and  shade,  but  of  light  and 

dark,  or  of  light,  dark,  and  middle  tone,  as  will  be  seen  in 

the   accompanying    examples.  y^MUM  Everything    is    kept    in   flat 

effect,  whether  the  work  be  in  JS^l^iL  black  and  white,  or  in  color. 


Examples  of  decorative  effects  in  light  and  dark,  and  an  example  of  the 
application  of  ornament.    From  The  Prang  Complete  Course,  Manual  Part  IV. 


30 


REQUIREMENTS   FOR  FIRST   ACADEMIC   CERTIFICATE. 


Mechanical  aids,  such  as  rule,  compasses,  tracing  and  transferring, 
may  be  employed  in  decorative  drawing.  Tracing  paper  may  be  used, 
or  the  unit  may  be  cut  out  and  repeated  by  tracing  with  a  sharp  pencil. 

Half-tinting  sometimes  adds  to  the  beauty  of  a  design.  This  may 
be  either  freehand  or  instrumental.  In  the  former  case  a  broken  line  is 
more  pleasing. 


Example  of  freehand  half -tinting.     From   The   American    Text  Books 
of  Art  Education,  Revised  Edition,  Book  8. 

General  Principles,  etc.,  of  Decorative  Design:  — 

1.  Fitness  to  purpose  is  the  underlying  principle  of  decoration. 

2.  That  which  is  used  as  decoration  should  not  be  of  more  importance 
than  the  object  decorated,  and  should  not  detract  from  the  usefulness  of 
that  object. 

3.  A  part  repeated  to  form  a  design  is  called  a  unit  of  that  design. 


JL 


Example  of  a  unit   of  a  deziyn,  and  of  the   use   of  the   unit.     From 
The  Prang  Elementary  Course  in  Art  Instruction,  Book  1 . 


DECORATION,   DECORATIVE   DRAWINGS. 


31 


4.   Conventional  treatments  of  natural  forms  may  be  used  as  units 
of  design. 


Example  of  the  conventional  treatment  of  a  plant  form  and  its  use  in  a 
design.     From  The  Prang  Complete  Course,  Manual  Part  VII. 

5.  Keeping  the  general  characteristics  of  a  natural  form,  omitting  de- 
tails and  accidents  of  growth,  is  called  conventionalization.     (See  above.') 

6.  A  unit  of  design  may  be  repeated :  — 

a.  About  a  center,  forming  a  rosette  or  radial  arrangement.     In  a 
rosette  the  units  should  spring  from  the  center,  and  should  be  united  at 
the  center  by  a  strong  central  figure. 

b.  In  a  line  forming  a  border. 


Examples  of  repetition   around  a  center. 
Course,  Manual  Part  III. 


From  The  Prang  Complete 


82 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


In  a  border  marginal  lines  should  be  used  to  give  stability  to  the 
arrangement. 


Example  of  a  unit  and  its  repetition  in  a  border.     The  border  gives  an 
example  of  marginal  lines.     From  The  Prang  Course. 


c.  To  cover  a  surface. 


Example  of  the  repetition  of  a  unit  to  cover  a  surface.    From  The  Prang 
Elementary  Course  in  Art  Instruction,  Book  1. 


7.   In  a  surface  pattern  or  a  border  the   unit   repeated   may  be   a 
bilateral  form,  or  it  may  be  a  rosette  or  another  figure. 


DECORATION,   DECORATIVE  DRAWINGS.  33 

8.   A  bilateral  form  is  one  having  an  axis  of  symmetry ;  that  is,  one 
which  may  be  divided  into  two  parts  that  balance. 


Examples  of  bilateral  figures.   From  The  Prang  Complete  Course,  Manual 
Part  III. 


Elementary  Design. 

The  sources  of  materials  for  decoration  are  geometric  figures  and 
natural  forms.  "  All  noble  ornamentation  is  the  expression  of  man's 
delight  in  God's  work." 

Any  geometric  figure  may  be  used  in  decoration,  simple  or  modified, 
to  meet  necessary  conditions.  In  original  design  requiring  the  use  of 
plant  forms,  care  should  be  taken  to  observe  the  law  of  growth. 


Example  of  the  use  of  leading  lines,  suited  to  "  laiv  s  of  growth"  as  a  pre- 
liminary step  in  a  design.    From  The  Prang  Complete  Course,  Manual  Part  IV. 


34  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


DECORATION,   DECORATIVE   DRAWINGS. 


35 


Design  (on  preceding  page)  showing  the  use  of  plant  growth,  with 
underlying  leading  lines.  The  three  drawings,  —  the  first  of  leading  lines 
(p.  33),  the  second  the  honeysuckle,  and  the  third  a  surface  design  from  the 
honeysuckle  (p.  34)  laid  out  upon  the  leading  lines  of  the  first  drawing, 
shoiv  a  series  of  steps  in  making  a  design  from  a  plant  form.  The  leading 
lines  are  selected  with  a  special  view  to  the  adaptability  of  the  plant  form, 
or  to  the  "  laws  of  growth  "  of  the  plant.  The  elements  of  the  plant  form 
are  then  arranged  upon  this  foundation.  The  designs  are  taken  from 
The  Prang  Complete  Course,  Manual  Part  IV. 

Historic  Ornament. 

In  historic  ornament  the  work  will  be  confined  to  reproductions  of 
the  units  given  in  Plates  7-9  (Regents  Bulletin,  No.  8),  and  to  designs 
made  from  these  units.  (See  pp.  36-44.)  The  units  in  historic  ornament 
are  either  geometric  figures  or  conventionalized  natural  forms. 


Gable  from  the  transept  of  Notre  Dame,   Paris. 


36  REQUIREMENTS  FOR  FIRST   ACADEMIC   CERTIFICATE. 


EXAMPLES  OF  EGYPTIAN  ORNAMENT. 


Natural  and  conventionalized  lotus  forms. 


Borders  of  conventionalized  lotus  flowers  and  buds. 


Surface  covering  of  lotus  forms.  Surface  covering  with  wave  scroll. 

From  The  Prang  Complete  Course,  Manual  Part  IV. 


DECORATION,  HISTORIC   ORNAMENT. 


37 


EXAMPLES  OF  GREEK  ORNAMENT. 


Egyptian  lotus. 
Prototype  of  Greek  lily. 


Greek  anthemion. 


Greek  lily. 


Wave  scroll  border. 


Fret. 


Surface  of  anthemion  forms.  Surface  of  anthemion  and  lily  forms, 

From  The  Prang  Complete  Course,  Manual  Part  IV. 


38  REQUIREMENTS  FOR  FIRST  ACADEMIC   CERTIFICATE. 

EXAMPLES  OF  ROMAN  ORNAMENT. 


From  The  Prang  Complete  Course,  Book  9,  and  from  The  American  Text 
Books  of  Art  Education,  Book  9. 


DECORATION,   HISTORIC   ORNAMENT.  39 

EXAMPLES  OF  BYZANTINE   AND  ROMANESQUE  ORNAMENT. 


[T<E3aJ 


From  a.  capital,  XII.  Century. 


From  The  Prang  Complete  Course,  Book  9. 


40  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


EXAMPLES   OF   SARACENIC  ORNAMENT. 


Characteristic  units,  especially  known  as  Moorish. 


Interlacing. 
A  characteristic  feature  of  Saracenic  ornament. 


Surface  designs. 
From  The  Prang  Complete  Course,  Manual  Part  II.  and  Book  10. 


DECORATION,   HISTORIC    ORNAMENT. 
EXAMPLES   OF  GOTHIC  ORNAMENT. 


41 


From  The  Prang  Shorter  Course  Manual,  from  The  Prang  Complete  Course, 
Book  9,  and  Manual  Part  II. ,  and  from  The  Prang  Course. 


42  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 

Laws  of  Decorative  Arrangement. 

Satisfactory  work  in  this  department  involves  a  careful  study  of  the 
elementary  principles  of  arrangement  for  decorative  purposes,  symmetry, 
repetition,  and  alternation. 


Illustrations  of  symmetry,  or  the  balance  of  parts.    From  The  Prang 
Course  in  Art  Education. 


Illustrations  of  repetition,  —  around  a  center  and  in  a  straight  line. 
From  The  Prang  Course  in  Art  Education. 


Illustrations  of  alternation.     From  The  Prang  Complete  Course,  Manual 
Part  IV. 


DECORATION,   HISTORIC   ORNAMENT. 


43 


Students  should  also  understand  the  principles  of  contrast,  unity, 
strength,  variety,  rhythm,  and  repose.  They  should  be  able  to  make, 
from  given  units,  simple  geometric  and  floral  designs  for  rosettes,  borders, 
and  surface  patterns. 


Examples  of  contrast,  variety,  and  repose.  Fleur-de-lis,  contrast  in 
the  arrangement  of  parts  ;  Moorish  surface  pattern,  variety  in.  arrangement 
and  in  line  ;  Greek  lily,  repose.  From  The  Prang  Complete  Course,  Book  10, 
and  The  Prang  Course  in  Art  Education. 


^Example   of  rhythm  —  the  wave-scroll. 
Course,  Manual  Part  IV. 


44  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 

Unity,  produced  by  the  subordination  of  parts  to  the  whole,  is  admirably 
shown  in  the  Grreek  border  given  below. 


Example  of  unity.     From    The   Prang   Course,   and  from   The  Prang 
Complete  Course,  Manual  Part  IV. 


Example  of  strength  produced  by  the  vigor  of  parts.     From  The  Prang 
Course  in  Art  Education. 


Examples  of  geometric  design  in  figure  and  border.  From  The  Prang 
Complete  Course,  Manual  Part  II. ,  and  from  The  American  Text  Books  of 
Art  Education. 


DECORATION,  DECORATIVE  DRAWINGS. 


45 


Examples  of  geometric  design  in  surface   covering.     From  The  'Prang 
Complete  Course,  Manual  Part  II. 


Examples  of  geometric   design   rendered   in    light   and   dark.     From 
The  Prang  Elementary  Course  in  Art  Instruction,  Book  3. 


46  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


c  D 


Example   of  geometric  design  with  floral  element.      From  The  Prang 
Complete  Course,  Manual  Part  IV. 


Examples  of  purely  floral  design  rendered  in  light  and  dark,  from  the 
Japanese.     Taken  from  The  Prang  Complete  Course,  Manual  Part  IV. 


MATERIALS   FOR   PRESENTING   WORK.  47 


BOOKS,   MANUALS,   AND   MATERIALS    FOR   CARRYING    OUT    THE 
WORK   IN   DECORATION   AND   HISTORIC   ORNAMENT. 


Methods  of  instructing  pupils  in  the  foregoing  work  will  be  found  under 
the  head  of  DECORATION  in  either  of  the  following  sets  of  books,  and  in 
the  charts  of  historic  ornament  given  under  4 :  — 

1.  THE    PRANG    COMPLETE   COURSE,    Books    1-10  inclusive,  with  the 

accompanying  MANUALS. 

2.  THE   PRANG  NEW  ELEMENTARY   COURSE    IN    ART    INSTRUC- 

TION, Books  1-6  inclusive,  together  with  THE  PRANG  COMPLETE 
COURSE,  Books  7-10  inclusive,  with  the  accompanying  MANUALS. 

3.  THE  PRANG  NEW  COURSE  IN  DRAWING  FOR  GRADED 

SCHOOLS,  Books  1-6  inclusive,  together  with  THE  PRANG  COM- 
PLETE COURSE,  Books  9  and  10,  with  the  accompanying  MANUALS. 

4.  PARALLELS    OF    HISTORIC    ORNAMENT,   Egyptian,  Greek,   Roman, 

Byzantine,  Romanesque,  Gothic,  and  Saracenic  Styles.  In  these  charts 
abundant  examples  of  the  ornament  of  each  of  the  styles  named  will  be 
found. 


48 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


C.    IN  CONSTRUCTION,  OR  GEOMETRIC  AND  WORKING  DRAWINGS. 

Geometric  and  working  drawings.  —  Instrumental.  In  this  work 
accuracy  is  of  special  importance.  Much  practice  in  the  use  of  instru- 
ments is  necessary  in  order  to  secure  good  results. 

Instruments, — The  pencil  for  this  work  should  be  very  hard,  and, 
for  lining,  sharpened  to  a  chisel  edge  instead  of  a  point.  It  should  be 


kept  sharp  by  frequent  rubbing  on  a  coarse  whetstone  or  piece  of  fine 
emery  paper.  The  construction  -should  be  made  with  this  pencil  under 
light  pressure,  producing  very  fine  but  sharp  lines  and  well-defined 
intersections.  After  the  construction  is  completed  in  this  way,  the  draw- 
ing should  be  finished  by  retracing  with  a  softer  pencil,  or,  better  still, 
with  ruling  pen  and  India  ink,  such  of  the  lines  as  need  to  be  more 
distinct. 


GEOMETRIC    AND   WORKING   DRAWINGS. 


49 


The  compasses  (dividers)  should  have  fine,  hard  points,  one  of  which 
should  be  detachable  for  the  purpose  of  substituting  a  pencil  point  or  pen. 
The  joint  should  be  so  tight  as  not  to  permit  of  free,  easy  motion,  other- 
wise the  distance  between  the  points  is  likely  to  vary  when  in  use.  The 
best  compasses  in  this  respect  are  those  in  which  the  opening  is  controlled 
by  a  spring  and  thumbscrew. 


From  Rouillioris  Course  in  Mechanical  Drawing. 

In  laying  off  distances,  the  distance  should  be  taken  from  the  scale 
by  means  of  compasses,  then  this  distance  should  be  applied  to  the  line. 

A  drawing  board  is  absolutely  essential  to  good  results.  It  should 
be  of  soft  wood,  so  that  paper  can  be  attached  by  thumb  tacks,  smoothly 
dressed  on  one  side,  and  its  left-hand  edge  dressed  to  a  straight  line. 

A  T  square  is  also  necessary.  It  is  used  as  shown  above,  the  head 
being  pressed  against  the  left-hand  edge  of  the  board.  By  sliding  the 


50 


REQUIREMENTS   FOR   FIRST   ACADEMIC    CERTIFICATE. 


T  square  along  the  board,  means  are  furnished  for  drawing  accurately  any 
number  of  horizontal  lines.  The  two  right  triangles  or  set  squares,  also 
shown  above,  are  important.  In  one  the  acute  angles  are  each  45°,  and 
in  the  other  they  are  60°  and  30°.  By  resting  them  on  the  T  square 
we  are  enabled  to  draw  any  number  of  lines  perpendicular  to  those  drawn 
by  aid  of  the  T  square  alone ;  also  lines  of  30°,  45°,  and  60°  with  those 
of  either  system  mentioned.  They  also  enable  us  to  draw  a  parallel  or  a 
perpendicular  to  any  line  on  the  board,  and  through  any  point. 

The  complete  outfit  shown  above,  consisting  of  a  drawing  board, 
T  square,  and  two  set  squares,  costs  from  twenty  to  fifty  cents,  according 
to  size. 


Illustration  of  the  use  of  triangles. 

(This  method  of  drawing  parallels  and  erecting  perpendiculars  is  the  one 
almost  exclusively  used  by  draughtsmen.) 

Let  it  be  required  to  draw  a  line  perpendicular  to  MN,  through  the 
point  P.  Place  either  of  the  triangles  with  one  of  its  shorter  sides  against 
the  blade  of  the  T  square  or  other  straight  edge,  and  bring  its  hypotenuse 


GEOMETRIC   AND   WORKING   DRAWINGS. 


51 


BC  to  coincide  with  the  given  line  MN.  Now,  holding  the  straight  edge 
in  its  place,  revolve  the  triangle  about  its  right  angle  A  till  the  other  side 
AC  rests  on  the  straight  edge,  then  slide  it  along  till  the  hypotenuse 
includes  the  point  P,  and  B'C'  will  be  the  perpendicular  required.  By 
sliding  the  triangle  on  the  rule,  it  is  evident  that  its  sides  do  not  change 
direction,  and  a  series  of  parallels  may  readily  be  drawn  to  either  side  in 
either  position. 

Geometric  Constructions. — Candidates  should  be  prepared  to  make 
the  following  geometric  constructions  :  — 

NOTE. —  When  the  T  square,  triangles,  and  drawing  board  are  used,  this  series  of  problems  is 
of  less  direct  use  to  pupils.  It  is  well,  however,  that  pupils  should  be  familiar  with 
these  problems  in  order  that  they  may  be  able  to  meet  any  requirements  that  may 
be  made.  In  case  the  T  square,  triangles,  and  drawing  board  are  not  used,  these 
problems  are  indispensable  in  preparing  pupils  for  the  examination. 

1.  To  draw  a  line  perpendicular  to  a  given  line  :  (a)  from  a  point  on 
the  line  ;  (6)  from  a  point  outside  the  line  ;  (c)  at  the  middle  point  of  the 
line  ;  (d)  at  the  extremity  of  the  line. 


Illustration  of  geometric  problem   (1.  cT)   and   its  application  in  the 
construction  of  a  square.     From  The  Prang  Complete  Course,  Manual  Part  VI. 

Application  to  construction  of  squares  and  rectangles  when  the  sides 
are  given,  and  to  bisection  of  a  given  line. 


52 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 

2.    To  draw  a  parallel  to  a  given  line :    (a)  through  a  given  point ; 
at  a  given  distance  from  the  given  line. 


Examples  of  drawing  parallel  lines.     From  The  Prang  Complete  Course, 
Manual  Part  VI. 

3.  To  bisect  a  given  arc  or  a  given  angle. 

4.  To  construct  an  angle  equal  to  a  given  angle. 

,C 


Examples  of  geometric  constructions.    From  The  Prang  Complete  Course, 
Manual  Part  VI. 

5.  To  construct  triangles  whose  sides   are   given  :   (a)  equilateral ; 
(£>)  isosceles  ;   (c)  scalene. 

6.  To  divide  a  line  into  equal  parts. 

NOTE.  —  Problem  6  and  the  construction  of  the  pentagon,  hexagon,  and  other  geometric  figures 
are  indispensable  even  when  the  T  square,  triangles,  and  drawing  board  are  used. 
Greater  facility  in  using  the  T  square,  etc.,  is  gained  when  the  geometric  problems 
are  understood. 


GEOMETRIC   AND   WORKING  DRAWINGS. 

7.    To  construct  angles  of  30°,  45°,  60°,  and  90°. 


Examples   of  bisecting  'angles   and   constructing   angles    of   different 
degrees.     From  The  Prang  Complete  Course,  Manual  Part  VI. 

8.    To  draw  a  circumference  through  any  three  points. 

Application  to  finding  center  of  a  given  circumference,  and  to  cir- 
cumscribing a  circle  about  a  triangle. 

9.  To  inscribe  a  circle  within  a  triangle. 

10.  To  draw  a  trefoil  and  a  quatrefoil. 

11.  To  draw  a  regular  hexagon. 

12.  To  draw  a  regular  pentagon. 


54  REQUIREMENTS   FOR   FIRST   ACADEMIC    CERTIFICATE. 

Geometric  designs.  —  As  the  geometric  constructions  are  taken  up 
they  should  be  extensively  applied  in  the  construction  of  geometric 
designs.  (See  Plates  4,  5  of  Bulletin  No.  £.) 

Students  should  be  encouraged  to  make  original  geometric  designs. 


Examples  of  geometric  design.  From  The  Prang  Complete  Course, 
Manual  Part  III. 

Working  drawings.  —  Working  drawings  are  drawings  giving  such 
facts  of  form,  size,  and  position  as  may  be  required  in  constructing  the 
objects  or  parts  of  objects  represented.  They  are  usually  constructed 
with  instruments.  They  consist  of  projections,  sections,  and  developed 
surfaces  or  patterns. 

On  page  55  examples  of  the  drawings  named  above  are  given  as  found  in 
The  Prang  Complete  Course,  Manual  Part  IV.  These  drawings  not  only  il- 
lustrate sections,  but  they  also  show  such  sections  as  are  directly  practical  — 
that  is,  the  sections  are  such  as  are  actually  needed  to  make  the  structure  of 
the  objects  more  clearly  understood. 

An  object  is  represented  by  these  projections  (plan  and  elevation, 
otherwise  called  top  and  front  view)  by  fixing  its  relations  to  two  or  more 
reference  planes,  called  planes  of  projection.  These  planes  are  usually 
arranged  at  right  angles  to  each  other.  The  line  in  which  they  meet  is 
called  the  ground  line.  The  object  to  be  represented  is  assumed  to  be  in 
the  angular  space  between  the  planes. 


GEOMETRIC   AND   WORKING   DRAWINGS. 


55 


--B. 


IA 

[jlj 


56 


REQUIREMENTS   FOR   FIRST    ACADEMIC    CERTIFICATE. 


In  order  to  give  a  correct  idea  of  the  meaning  of  working  drawings, 
teachers  are  advised  to  join  two  pieces  of  board  at  right  angles  and  to 
attach  to  them  a  sheet  of  folded  paper  as  shown  below.  To  represent  the 
point  P,  drop  a  perpendicular  from  P  to  the  horizontal  plane.  The  point 
h  where  this  perpendicular  meets  the  horizontal  plane  is  called  the  hori- 
zontal projection  (or  plan)  of  the  point  P.  In  the  same  manner,  a  per- 
pendicular to  the  vertical  plane,  meeting  it  at  v,  determines  the  vertical 
projection  of  the  point  P.  The  point  P'  will  be  determined  in  the  same 
way  by  the  projections  h',  u',  also  the  line  PP'  joining  the  two  points  will 
be  represented  by  the  projections  hh',  vv'.  If  now  the  paper  be  detached 
from  the  board  and  laid  out  flat,  we  shall  have  the  result  shown  below ; 
gh  gives  the  distance  of  the  point  P  from  the  vertical  plane ;  gv  gives  its 
distance  from  the  horizontal  plane.  Note  that  the  lines  vg  and  Jig  are 
both  perpendicular  to  the  ground  line  at  </,  and  are  therefore  one  line. 


This  is  projection  in  the  first  angle.     By  this  method  of  projection  the 
plan  or  top  view  is  placed  below  the  front  elevation  or  front  view. 


GEOMETRIC   AND   WORKING  DRAWINGS. 


57 


If  an  object  like  a  cube  be  placed  in  either  of  the  positions  shown 
below,  the  resulting  working  drawing  will  be  shown. 


Fig.  I. 


Fig.  2. 

Notice  that  the  three  dimensions  of  the  object  (Fig.  1)  are  represented 
respectively  by  the  three  lines  ac,  cd,  eg,  while  the  position  of  the  object  is 


58  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 

shown  by  the  positions  of  its  projections  with  respect  to  the  ground  line 
AB.  If  the  object  is  placed  with  the  diagonal  of  one  of  its  faces  per- 
pendicular to  the  vertical  plane  (Fig.  2),  the  result  will  be  as  shown  in 
that  figure. 

In  these  representations  it  is  assumed  that  all  lines  are  straight  lines, 
and  all  angles  right  angles,  if  they  are  not  shown  to  be  otherwise  by 
the  drawings.  Most  objects  having  curved  lines  or  right  or  oblique  angles 
may  be  so  placed  as  to  show  all  the  facts  by  two  projections.  All  the 
facts  of  the  square  prism  and  the  right  cone  are  shown  by  two  projec- 
tions in  the  drawings  on  page  51,  where  they  are  represented  as  standing 
on  end  on  the  horizontal  plane. 

In  all  working  drawings  :  — 

Visible  edges  are  represented  by  heavy  lines,  thus  :  

Invisible    edges    may   be   represented    by    heavy    broken   lines, 

thus : 

Working  lines  and  connecting  lines  are  made  light,  and  may  be 

broken,  thus : 

Dimension  lines  are  frequently  made  thus  :    < —          — $»• 
A  center  line  is  sometimes  used,  thus : 

The  following  conventions  are  of  good  standing  with  draughtsmen :  — 

1.  Lines  of  the  Object. 

a.  Full  line  for  visible  edges  or  outlines.  (See  2.)     i 

b.  Long  dash  line  for  invisible  edges  or  outlines.     2  

(See  3.)  3 

c.  Half-tinting  or  section  lines  at  45°.    (See  4.) 

2.  Helping  or  construction  lines. 

a.  Short  and  long  dash  lines  for  center  lines. 
(See  5.) 


b.  Light  full  line  or  short  dash  line  for  exten-     g  <: Q' g" ^ 

sion  or  working  lines.     (See  1  or  7.) 

c.  Light  broken  line  with  arrowheads  and  figuring  for  dimension  lines.    (See  8.) 

d.  Feet  always  to  be  expressed  in  figuring.     (See  8.) 

e.  Line  of  fraction  horizontal,  not  oblique;  as  -|. 


GEOMETRIC   AND    WORKING   DRAWINGS. 


59 


In  case  the  drawings  are  finished  in  ink,  dimension  lines  are  usually 
represented  in  red,  and  all  working  lines  are  sometimes  so  represented. 
There  are  not,  as  a  rule,  well-established  conventions  as  to  the  kinds 
of  line  used  in  working  drawings. 

Light,  if  considered,  is  usually  assumed  to  come  from  above  and  the 
left ;  and  in  this  case  those  edges  adjacent  to  the  sides  in  shadow  are 
made  heavier. 


Examples  of  working  drawings  showing  tin-  plan  below  the  elevation, 
and  treatment  in  light  and  shade.  From  The  Prang  Complete  Course, 
Manual  Part  IV. 

The  arrangement  of  plan  and  elevation  shown  in  the  foregoing 
figures  is  quite  generally  used,  but  not  always.  Many  prefer  to  place  the 
plan  above  the  elevation.  Either  method  will  be  allowed  in  the  examination. 

Requirements :  — 

Working  drawings  will  be  required  of  the  type  solids  given  under 
pictorial  drawing  (see  pp.  19  and  20),  and  of  simple  objects  based  on  these 
type  solids,  placed  with  a  principal  face,  or  axis,  parallel  to  one.  of  the 
planes  of  projection  and  perpendicular  to  the  other.  Only  two  projections 
of  any  object  will  be  called  for  in  the  elementary  examination. 


60 


REQUIREMENTS   FOR   FIRST   ACADEMIC    CERTIFICATE. 


Examples  of  working  drawings  with  the  plan  or  top  view  above   the 
elevation  or  front  view.     From  The  Prang  Complete  Course,  Manual  Part  IV. 


Examples  of  working  drawings  of  models  and  objects.     From  The  Prang 
Complete  Course,  Manuals  Parts  III.  and  I  If. 


GEOMETRIC    AND   WORKING   DRAWINGS. 


61 


Examples  of  working  drawings  of  objects.     From  The  Prang  Complete 
Course,  Manual  Part  IV, 


OP  THK 

UNIVERSITY 


62  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


Examples  of  working  drawings  of  objects.     From  The  Prang  Complete 
Course,  Manual  Part  IV. 


GEOMETRIC   AND   WORKING   DRAWINGS. 


63 


Development  of  surfaces  of  these  type  solids,  except  sphere  and 
spheroids,  and  longitudinal  and  transverse  sections  of  all  the  type 
forms  and  of  simple  objects  based  on  them,  will  also  be  required. 
(See  illustrations  below.) 


Examples  of  surface  development.     From  The  Prang  Complete  Course, 
Manuals  Parts  III.  and  IV. 


64 


REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


, 


Section  on  CD 


Section  on  AB.          Front  view. 


Examples  of  longitudinal  and  transverse  sections.      From  The  Prang 
Complete  Course,  Manuals  Parts  III.  and  IV. 


"Work  for  some  good  —  be  it  ever  so  slowly; 
Labor  —  all  labor  is  noble  and  holy." 


MATERIALS   FOR   PRESENTING   WORK.  65 


BOOKS,   MANUALS,   AND   MATERIALS   FOR   CARRYING  OUT 
THE  WORK   IN   CONSTRUCTION. 


Methods  for  instructing  pupils  in  the  foregoing  work  will  be  found 
under  the  head  of  CONSTRUCTION  in  either  of  the  following  sets  of  books:  — 

1.  THE    PRANG    COMPLETE    COURSE,    Books   1-10   inclusive,  with   the 

accompanying  MANUALS.  If  the  method  of  teaching  projection  through 
the  first  angle  is  preferred  to  the  workshop  method  (placing  the  top 
view  or  "plan"  above  the  front  view  or  "elevation"),  Book  13  of  THE 
AMERICAN  TEXT  BOOKS  OF  ART  EDUCATION  will  be  needed. 

2.  THE    PRANG   NEW   ELEMENTARY  COURSE    IN    ART   INSTRUC- 

TION, Books  1-6  inclusive,  together  with  THE  PRANG  COMPLETE 
COURSE,  Books  7-10  inclusive,  with  the  accompanying  MANUALS. 
Book  13  of  the  AMERICAN  TEXT  BOOKS  OF  ART  EDUCATION 
will  be  needed  under  the  conditions  stated  above  under  1. 

3.  THE  PRANG  NEW  COURSE  IN  DRAWING  FOR  GRADED 

SCHOOLS,  Books  1-6  inclusive,  together  with  THE  PRANG  COM- 
PLETE COURSE,  Books  9  and  10,  with  the  accompanying  MANUALS. 
Book  13  of  THE  AMERICAN  TEXT  BOOKS  OF  ART  EDUCATION 
will  be  needed  if  it  seems  desirable  to  follow  the  method  of  projection 
giving  the  plan  below  the  elevation. 

NOTE.  —  A  full  explanation  of  working  drawings  will  be  found  in  .Rowz'M'ort's  or  in  McCord's 
Mechanical  Drawing. 


66  REQUIREMENTS   FOR   FIRST   ACADEMIC   CERTIFICATE. 


A   SUGGESTED   COURSE 

OF  ONE  HUNDRED  LESSONS  TO   PREPARE   FOR  THE  REGENTS' 

EXAMINATION  IN  ELEMENTARY  DRAWING  FOR  THE 

FIRST  YEAR  ACADEMIC  CERTIFICATE. 


If  the  pupils  have  completed  Books  1-10  of  The  Prang  Complete  Course, 
or  Books  1-6  of  the  New  Course  for  Graded  Schools,  before  entering  the  high 
school,  it  will  only  be  necessary  to  review  the  work  already  done,  with 
a  view  to  memorizing  the  principles  in  Representation,  Decoration,  and 
Construction  (by  means  of  abundant  application  of  these  principles) 
and  the  styles  of  historic  ornament.  It  may  be  well  to  add  to  this 
work  the  theqretic  perspective  and  the  work  in  projection  of  Book  13  of 
The  American  Text  Books  of  Art  Education. 

In  case  the  pupils  come  to  the  work  with  little  or  no  preparation  in 
drawing,  the  following  course  of  one  hundred  lessons  (the  regular  require- 
ment of  time  in  this  subject,  —  twenty  weeks)  will  enable  pupils  to  meet 
the  requirements  for  the  First  Year  Academic  Certificate  : 

COURSE  OF   STUDY. 

Five  Lessons  in  the  recognition  of  the  type  forms,  —  the  sphere,  hemi- 
sphere, ellipsoid,  oblate  spheroid,  ovoid,  cube,  square  prism,  square 
plinth,  square  pyramid,  cylinder,  circular  plinth,  and  cone. 

Twenty  Lessons  in  the  pictorial  representation  of  these  type  forms  and 
objects  based  upon  them. 

Ten  Lessons  in  the  pictorial  representation  of  flowers,  sprays  of  leaves,  etc. 

Five  Lessons  in  the  study  of  pictorial  representation  in  light  and  shade.. 

Fifteen  Lessons  in  the  study  of  historic  ornament,  including  the  drawing 
of  examples  of  the  Egyptian,  Greek,  Roman,  Byzantine,  Romanesque, 
Saracenic,  and  Gothic  styles. 


SUGGESTED  COURSE  OF   STUDY.  67 

Fifteen  Lessons  in  the  study  of  the  conventionalization  of  plant  forms, 
together  with  the  arrangement  of  these  conventionalized  forms,  and 
also  of  historic  forms,  in  rosettes,  borders,  and  surface  designs. 

Five  Lessons  in  memorizing  geometric  problems. 

Fifteen  Lessons  in  the  study  of  views  of  type  forms  and  simple  objects 
based  upon  them. 

Ten  Lessons  in  general  review. 

While  it  will  not  be  possible  for  each  pupil  to  have  a  complete  set  of 
the  following  books,  charts,  etc.,  it  is  most  essential  that  all  the  pupils 
may  have  free  access  to  them  for  inspiration  and  for  direct  technical  aid  : 

The  Prang  Complete  Course,  Books  1—10  inclusive,  with  Manuals,  Parts  I., 
II.,  III.,  IV.,  VI.,  and  VII. 

The  Prang  New  Course  in  Art  Instruction,  Books  1-6  inclusive,  with  accom- 
panying Manuals. 

The  Prang  New  Course  in  Drawing  for  Graded  Schools,  Books  1-6  inclusive, 
with  accompanying  Manual. 

Parallels  of  Historic  Ornament,  Egyptian,  Greek,  Roman,  Byzantine  and 
Romanesque,  Saracenic,  and  Gothic  styles. 

The  American  Text  Books  of  Art  Education,  Books  XIII.  and  XIV.,  and  the 

Book  on  Historic  Ornament. 

Rou  ill  ion's  Course  in  Mechanical  Drawing. 

NOTE. — All  the  text  books  of  this  list  are  published  by  THE  PRANG  EDUCATIONAL  COMPANY. 


"  We  have  seen  that  the  need  of  the  type  —  the  embodiment  of  the 
ideal  —  is  a  universal  need  in  education.  Let  us  recognize  fully  its  value 
in  our  special  work  of  instruction  in  Form  as  the  only  basis  for  form 
idealization ;  and  on  this  basis  we  will  no  longer  teach  drawing  or  model- 
ing or  painting  as  mere  graphic  representation, — the  passive  reflection 
of  the  facts  of  material  objects.  We  will  teach  Art,  the  exercise  of  the 
creative  activities  of  the  individual,  grasping  the  truths  of  surrounding 
nature  and  human  life,  fusing  them  in  his  spiritual  nature  in  the  service 
of  his  ideals,  and  bringing  forth  from  this  inner  treasury  of  his  mind 
things  that  the  world  needs  for  its  material  comfort  and  for  its  spiritual 
growth.  With  this  view  of  Art,  let  us  think  of  the  types  and  present 
them  for  what  they  actually  are,  —  simple  embodiments  of  man's  ideals  of 
pure  form,,  the  reflection  or  image  of  the  form  ideals  shadowed  forth 
in  this  vast  creation  of  which  we  are  a  part,  the  everlasting  form  ideals 
with  which  the  human  mind  must  act  in  converting  material  nature  to 
the  service  of  human  nature."  —  JOHN  S.  CLARK. 


REQUIREMENTS 

FOR   THE 

EXAMINATION  IN  ADVANCED  DRAWING  FOR  THE 
SECOND  YEAR  ACADEMIC  CERTIFICATE. 


Introductory  note.  —  The  following  statements  and  requirements  are 
those  given  in  the  Examination  Bulletin  No.  8,  issued  by  the  Department 
of  Regents  in  the  State  of  New  York,  in  June,  1895,  under  the  head  of 
ADVANCED  DRAWING. 

On  page  273  of  Bulletin  No.  8  are  found  the  requirements  for  the  Second 
Year  Academic  Certificate.  Advanced  Drawing  is  included  in  the  list  of  subjects, 
and  is  therefore  to  be  considered  a  regular  subject  for  the  second  academic  year. 
The  tendency  to  place  this  subject  in  'grades  lower  than  the  second  academic  year 
ivould  seem  to  be  guarded  against  by  such  a  statement  as  is  found  ov  page  437  of 
the  Bulletin  concerning  the  formation  of  advanced  classes  with  immature  pupils. 
On  page  438  of  the  Bulletin,  Advanced  Drawing  is  stated  as  a  two-count  or  twenty- 
week  subject  —  the  "  count,"  as  stated  on  page  4&7  of  the  Bulletin,  being  ten  weeks' 
work  with  Jive  lessons  each  week.  A  course  of  one  hundred  lessons  would  therefore 
be  necessary  to  meet  the  requirements  in  this  subject.  A  suggested  course  of  this 
length  will  be  found  in  the  last  part  of  this  division  of  the  Manual. 

REQUIREMENTS  AS  TO  PREPARATION  FOR  THE  SECOND  YEAR 
ACADEMIC  CERTIFICATE. 

Advanced  drawing.  —  This  subject  should  be  pursued  for  at  least 
twenty  weeks  after  the  completion  of  the  work  outlined  in  the  ele- 
mentary syllabus. 

69 


70 


REQUIREMENTS   FOR   SECOND   ACADEMIC    CERTIFICATE. 


THE  EXAMINATION    WILL    INCLUDE:  — 

A.    REPRESENTATION  OR  PICTORIAL  DRAWING. 

Pictorial  drawings. — Freehand  or  instrumental.  A  more  extended 
application  of  the  principles  of  perspective  in  instrumental  work,  and  in 
freehand  drawings  of  familiar  objects  and  landscapes,  with  special  atten- 
tion to  grouping.  (See  following  plates.) 

An  example  of  simple  landscape  from  The  Prang  Elementary  Course 
in  Art  Instruction,  Book  4,  is  given  below. 


Freehand  Drawing  —  Grouping  or  Composition. 

Grouping  is  the  art  of  arranging  objects  in  a  pleasing  manner. 
A  row  or  a  mere  collection  of  objects  is  not  a  group  in  pictorial  com- 
position. The  objects  represented  should  be  arranged  with  reference 
to  one  principal  object  to  which  the  others  are  accessory,  and?  they  should 
be  placed  so  that  the  eye  may  take  in  the  whole  group  at  once. 


REPRESENTATION  OR   PICTORIAL   DRAWING. 


71 


As  two  solids  can  not  occupy  the  same  space  at  the  same  time, 
care  should  be  taken,  in  the  drawing  of  a  group  of  objects  standing 
at  the  same  level,  that  the  bases,  if  wholly  represented,  do  not 
interfere. 

Example  of  grouping  with  special  attention  to  the  idea  that  "wo  two 
solids  can  occupy  the  same  space  at  the  same  time."  The  objects  selected 
to  make  the  group  show  this  point  admirably,  the  cup  allowing  the  eye  to 
calculate  the  distance  between  the  bases  of  the  two  associated  objects.  From 
The  Prang  Elementary  Course  in  Art  Instruction,  Book  5. 


NOTE.  — One  of  the  greatest  difficulties  to  be  overcome  in  the  early  work  in  drawing  from 
groups  of  objects  is  the  want  of  appreciation  of  space  values.  The  general  principle 
on  which  this  point  in  the  representation  of  objects  is  based  is  found  in  Exercise 
VIII.  of  Book  6  of  The  Prang  Complete  Course.  Abundant  examples  of  methods 
of  teaching  this  point  will  be  found  in  Manuals  Parts  III.  and  IV.  of  The  Prang 
Complete  Course.  In  teaching  the  principles  of  theoretic  perspective  the  complete 
understanding  of  this  principle  may  be  easily  secured. 


72  REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 

Show  the  table  line,  that  is,  the  far  edge  of  the  surface  on  which 
the  objects  rest.  If  invisible  edges  are  required,  indicate  them  by  light 
lines.  {See  pages  19  and  20,  drawings  of  type  forms.') 

NOTE.  —  The  table  line  is  a  part  of  the  composition  of  the  picture  drawn  from  a  group  of 
objects.  In  the  elementary  stages  of  the  work,  it  can  be  presented  concretely  by 
calling  the  attention  to  the  farther  edge  of  the  surface  on  ichich  the  group  rests. 
In  the  more  advanced  work,  however,  it  seems  well  to  lead  to  the  location  of  the 
table  line  by  calling  the  attention  to  the  general  points  of  the  drawing ;  the  general 
character  of  the  objects  as  to  size,  apparent  solidity,  etc.  ;  the  arrangement  of  the 
objects,  etc. ;  and  the  distance  of  the  objects  below  the  eye;  and  by  asking  the  pupils 
to  locate  the  table  line  in  a  way  to  secure,  a  pleasing  pictorial  effect. 


Example   of  rendering  the   table   line  in   an  outline   drawing.     From 
The  Prang  Elementary  Course  in  Art  Instruction,  Book  4. 


REPRESENTATION   OR   PICTORIAL   DRAWING. 


73 


The  cup  that  cheers,  but  not  inebriates. 


Lunch  in  Holland. 


Examples  of  groups  rendered  in  light  and  shade.     From  The  Prang 
Complete  Course,  Manual  Part  IV. 


74  REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 


Example*,   of  towers  and  landscapes.      From    The    Prang   Elementary 
Course  in  Art  Instruction,  Books  3  and  5. 


REPRESENTATION   OR   PICTORIAL   DRAWING. 


75 


Instrumental  Drawing  —  Mechanical  perspective. 

The  perspective  of  an  object  may  be  constructed  from  its  plan  and 
elevation  by  any  method  that  the  student  may  know. 

The  following  perspective  problems  are  taken  from  The  American  Text 
Books  of  Art  Education,  Books  XIII.  and  XIV.,  published  by  The  Prang 
Educational  Company.  In  these  books  a  complete  series  of  exercises  in 
parallel  and  angular  perspective  based  upon  educational  principles,  and  with 
directions  for  working  them  out,  will  be  found. 


SP. 


Location  of  points  in  perspective. 


PROBLEM  1. —  To  find  a  point  A  lying  on  the  ground  plane,  3'  to  the  left  of  the  spectator 
and  2'  within,  that  is,  beyond  P.P.  Set  off  on  P.L.  3'  to  left  of  L.  of  D.  in  1.  Draw  from  1  to 
C.V.  Set  off  2'  to  right  of  1  in  2.  Draw  from  2  to  D.P.  1,  cutting  the  line  from  1  to  C.V., 
in  A.  A  will  be  3'  to  left  of  spectator  and  2'  within  P.P. 

PROBLEM  2.  —  To  find  a  point  B  on  the  ground  plane,  4'  to  the  right  of  the  spectator  and 
3  within  P.P.  Set  off  4'  to  right  of  0  in  3,  and  draw  from  3  to  C.V  Set  off  3'  to  left  of  3 
in  4;  from  4  draw  to  D.P.  2,  cutting  the  line  from  3  to  C.V.  in  B.  B  will  be  4'  to  right  of 
spectator  and  3'  within  P.P. 


76  REQUIREMENTS  FOR  SECOND  ACADEMIC   CERTIFICATE. 

Parallel  Perspective. 


Application  of  PROBLEM  1  in  the  drawing  of  a  railroad  track. 


Horizontal  and  vertical  lines  in  parallel  perspective. 


REPRESENTATION   OR   PICTORIAL   DRAWING. 


77 


D.P.I. 


Square  planes  in  parallel  perspective. 


Plinths  in  parallel  perspective. 


NOTE.  —  Two  of  the  most  important  points  in  the  learning  of  theoretic  perspective  are  the 
location  of  points  within  the  picture  plane  and  the  measuring  of  horizontal  and 
vertical  distances  within  the  picture  plane.  The  problems  given  above  should, 
therefore,  be  taught  with  great  care  to  the  end  that  pupils  may  be  able  to 
memorize  these  points  thoroughly  and  be  able  to  apply  them  in  the  following 
problems. 


78  REQUIREMENTS  FOR  SECOND  ACADEMIC   CERTIFICATE. 


Circles  and  cone  in  perspective. 


T:f\  Eleven,,  of  trfl 


Projection  and  parallel  perspective.     Plan,  elevations,  and  perspective 
representation  of  room. 


REPRESENTATION  OR  PICTORIAL  DRAWING. 
Angular  Perspective. 


79 


NOTE.  —  The  location  of  points  within  the  picture  plane  becomes  more  complicated  in  angular 
perspective,  and  great  care  is  necessary  in  order  to  secure  a  clear  impression  of  the 
use  of  vanishing  points  and  measuring  lines  in  doing  this  work. 


Vanishing  points  and  measuring  points  in  angular  perspective  for  objects 
at  45°  to  the  picture  plane. 


V.R  1.  H.U  MP.  2. C.V. 


Vanishing  points  and  measuring  points  in  angular  perspective  for  objects 
at  50°  and  40°  to  the  picture  plane. 


80  REQUIREMENTS  FOR  SECOND  ACADEMIC   CERTIFICATE. 

NOTE.  —  The  use  of  the  measuring  points  (M.  P.  1  and  2)  in  angular  perspective,  while 
similar  to  the  use  of  the  distance  points  in  parallel  perspective,  will  seem  much 
more  limited  to  the  elementary  workers  in  the  subject.  Plenty  of  applications 
of  the  principles  should  be  given  in  order  to  thoroughly  establish  their  use. 


KP.2.  C.V 


Horizontal  lines  in  angular  perspective  at  30°  and  60°  to  the  picture 
plane. 


M.V.Z.  C.T. 


Horizontal  plane  in  angular  perspective  at  50°  and  40°  to  the  picture 
plane. 


REPRESENTATION  OR  PICTORIAL  DRAWING. 


81 


It  will  be  readily  seen  by  following  the  steps  in  the  series  of  problems 
in  angular  perspective  up  to  this  point  (exercises  on  pages  79  and  81} 
that  the  drawing  of  the  cube  on  this  page  is  the  outcome  of  the  combina- 
tion of  the  points  presented  in  the  exercises  that  precede  this  drawing. 
As  a  knowledge  of  theoretic  perspective  is,  to  a  large  degree,  dependent 
upon  the  memorizing  of  certain  definite  points,  it  seems  well  to  present  these 
points  simply  and  clearly,  one  by  one,  in  order  that  they  may  become  a  basis 
for  intelligent  work  in  the  subject.  Very  few  terms  are  used,  as  a  multi- 
plicity of  terms  results  in  confusion  of  mind  and  consequent  discouragement, 
especially  to  pupils  so  immature  as  many  of  those  who  endeavor  to  pass  the 
examination  in  Advanced  Drawing.  It  will  be  found  that,  by  following  this 
series  "of  exercises,  the  pupils  will  not  only  be  able  to  solve  the  problems  given 
here,  but  they  will  also  be  able  to  reason  out  any  combination  of  the  principles 
presented  in  these  problems.  If,  each  time  a  principle  is  learned,  several 


Cube  in  angular  perspective  at  50°  and  40°  to  the  picture  plane. 


82 


REQUIREMENTS   FOR   SECOND   ACADEMIC    CERTIFICATE. 


problems  involving  the  same  principle  are  solved,  it  will  be  found  that  the 
points  will  be  fixed  with  a  reasonable  degree  of  certainty.  The  succeeding 
problem  is  of  a  complex  nature,  but  involves  no  principle  not  previously 
given. 


Projection  and  angular  perspective, 
representation  of  a  flight  of  steps.  ^ 


Plan,  elevation,  and  perspective 


NOTE.  —  The  question  whether  to  use  the  method  of  teaching  perspective  by  the  aid  of  plan  and 
elevation  or  by  other  methods  is  one  of  economy  of  effort  or  of  space  —  or  of  the 
location  of  points  on  or  within  the  picture  plane  when  the  object  is  so  placed  or  is  of 
such  structure  as  to  makb  the  location  of  exact  points,  etc.,  difficult.  It  is  icell  to 
know  the  method  by  plan  and  elevation  thoroughly,  although  the  method  put  forth 
in  the  preceding  exercises  meets  all  needs  in  elementary  work. 


MATERIALS   FOR   PRESENTING    WORK.  83 


BOOKS,    MANUALS,   AND    MATERIALS    FOR    CARRYING    OUT    THE 
WORK   IN   FREEHAND   AND   INSTRUMENTAL   PERSPECTIVE. 


Methods  of  instructing  pupils  in  the  work  in  freehand  perspective  and 
in  light  and  shade  will  be  found  in  the  following  books  and  manuals:  — 

THE  PRANG  COMPLETE  COURSE,   MANUAL  Part   IV. 
WOODBURY'S  SKETCHES,  published  by  The  Prang  Educational  Company. 

BARTHOLOMEW'S  SKETCHES,  three  sets,  published  by  The  Prang  Educa- 
tional Company. 

For  the  work  in  instrumental  perspective,  the  following  books  will  give 
what  is  desired  in  the  way  of  method :  — 

THE    AMERICAN    TEXT    BOOKS    OF    ART    EDUCATION,    Books   XIII. 
and  XIV. 


- 


84 


REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 


B.    DECORATION,  OR   DECORATIVE  DESIGN. 

Decorative  drawings.  —  Freehand  and  instrumental.  A  more  ex- 
tended study  of  the  principles  of  decoration,  and  a  higher  degree  of 
excellence  in  the  work  in  design,  including  geometric  figures,  plant 
forms,  and  historic  ornament,  will  be  required.  The  examination  will 
presuppose  ability  to  make  original  geometric  designs  and  a  free  conven- 
tionalization of  plant  forms. 


Examples  of  original  geometric  design.    From  The  American  Text  Books 
of  Art  Education,  Clark  Edition,  Book  7. 


Examples   of  free   conventionalization  of  plant  forms.      See  also  the 
honeysuckle  design  under  " Laws  of  Growth"  p.  34. 


DECORATION,   DECORATIVE   DESIGN. 


85 


It  will  include   bilateral    arrangements  with   or  without   inclosing 
forms  and  conventionalized  plant  forms. 


Examples  of  bilateral  arrangements,  —  with  an  inclosing  form  in  the 
surface  design^  without  the  inclosing  form  in  the  single  units.  From 
The  Prang  Shorter  Course  Manual  and  The  Prang  Complete  Course,  Manual 
Part  IV. 


Examples  of  conventionalized  plant  forms.     From  The  Prang  Course. 


86  REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 


l/>^  ^lyL 


I      ^ 

T^r^rY 


Examples  of  surface  designs.    From  The  Prang  Complete  Course,  Manual 
Part  IV. 


DECORATION,    HISTORIC   ORNAMENT.  87 

The  work  on  historic  ornament  is  much  more  comprehensive  than  in 
the  elementary  syllabus,  and  includes  the  note  on  historic  ornament. 
(See  Plates  21-27  of  Bulletin  No.  5.) 

NOTE   ON   HISTORIC   ORNAMENT. 

The  student  of  decoration  should  become  familiar  with  the  leading 
styles  of  ornament  of  nations  of  the  past.  To  aid  in  this  study  a  few 
thoughts  suggested  by  R.  N.  Wornum  in  his  Analysis  of  Ornament 
are  given  below,  followed  by  an  abstract  of  the  work  itself.  (See 
Plates  21-25  of  Bulletin  No.  5.) 

The  leading  styles  are:  — 

Ancient.  —  Egyptian,  Greek,  Roman. 
Mediaeval.  —  Byzantine,  Saracenic,  Gothic. 
Modern.  —  Renaissance. 

Some  characteristics  of  the  styles :  — 

Egyptian.  —  Symbolism,  simplicity,  grandeur,  severity,  convention- 
alization of  natural  forms. 

Greek.  —  Estheticism,  artistic  finish,  simplicity,  conventionalization. 

Roman.  —  Estheticism,  extreme  elaboration,  richness. 

Byzantine.  — Christian  symbolism,  estheticism,  conventionalization. 

Saracenic  or  Moorish.  —  Rigid  exclusion  of  symbolism,  geometric 
symmetry,  gorgeous  color  effects. 

Crothic.  —  Christian  symbolism,  grandeur. 

Renaissance,  with  its  developments  (trecento,  cinquecento,  Louis  Qua- 
torze).  — Rebirth  of  classic  styles,  estheticism. 

These  various  styles  extended  over  a  period  of  3500  years,  of  which 
2000  may  be  considered  the  ancient  period,  from  the  early  historical  times 
to  the  third  century  of  our  era.  About  1000  years,  from  the  third  to  the 
thirteenth  century,  may  be  .considered  the  mediaeval ;  and  the  last  five 
centuries,  the  modern  or  renaissance  period. 

NOTE.  —  Owen  Jones''  Grammar  of  Ornament  can  be  found  in  most  libraries,  and  is  high 
authority  on  historic  ornament. 


88 


REQUIREMENTS   FOR   SECOND   ACADEMIC    CERTIFICATE. 


Style  is  another  name  for  character.  Every  style  depends  on  what  is 
peculiar  to  it,  never  on  what  it  has  in  common  with  other  styles.  These 
peculiarities  are  termed  characteristics.  The  earliest  styles  are  the  most 
simple. 

A,   ANCIENT   STYLES. 
1.  EGYPTIAN  STYLE.* 

In  this  style  the  elements  have  a  particular  meaning,  and  are  rarely, 
if  ever,  chosen  for  beauty  of  effect,  being  mere  symmetric  arrangements. 
The  painted  ceilings  of  the  tombs  of  the  kings  at  Thebes  form  many  good 
examples.  Egypt  is  eminent  in  the  complete  adaptation  of  its  own  natural 
productions,  and  in  the  conventional  treatment  of  local  natural  types. 

The  Egyptian  details  are  not  mere  crude  imitations  of  nature,  but 
natural  objects  selected  by  symbolism,  and  fashioned  by  symmetry  into 
ornamental  decoration. 


Winged  globe. 


Ptolemy. 


Scarabeus. 


Cleopatra. 


Examples  of  symbols  and  cartouches.  From  The  Prang  Complete  Course, 
Manual  Part  //.,  and  from  Parallels  of  Historic  Ornament. 

*  Goodyear's  Grammar  of  the  Lotus  can  be  found  in  most  libraries,  and  is  excellent 
authority  on  Egyptian  ornament.  Wilkinson's  Manners  and  Customs  of  the  Ancient 
Egyptians  will  add  interest  to  the  work  in  Egyptian  ornament. 


DECORATION,   HISTORIC   ORNAMENT. 


89 


Wave-scroll  and  palmette. 


Wave-scroll  and  lotus. 


The  use  of  symbols  in  surface  decorations. 

Examples  of  Egyptian  borders  and  surfaces.    From  The  Prang  Complete 
Course ,  Manual  Part  IV.,  and  from  Parallels  of  Historic  Ornament. 


Here  we  have  the  earliest  systematic  efforts  in  design.  In  many 
respects  the  art  was  as  thoroughly  understood  at  Memphis  or  Thebes 
three  thousand  years  ago,  as  it  is  at  London  or  Paris  to-day.  Egyptian 
ornaments  admit  of  no  pictures  of  objects  ;  all  are  treated  corjventionally. 

Common  Egyptian  designs  are  :  the  winged  globe,  the  beetle,  the 
lotus,  the  papyrus,  the  zigzag,  the  asp,  the  cartouche,  the  spiral,  the  wave 
scroll,  the  fret,  and  the  sphinx. 

The  beetle  occurs  in  all  sizes,  and  in  almost  all  materials,  and  is  a 
species  of  talisman  or  invocation  of  good  luck.  (See  p.  88,  the  scarabeus). 


90  REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 

The  globe  is  supposed  to  represent  the  sun,  the  wings  providence, 
and|  the  two  asps,  one  on  each  side  of  the  globe,  dominion  and  monarchy, 
or  the  creative,  protective,  and  distributive  powers,  implying  order.  {See 
p.  98,  the  winged  globe.} 

We  find  this  ornament  placed  over  doors,  windows,  and  in  passages. 
It  is  sometimes  of  an  enormous  size  extending  thirty  feet  or  more.  It  is 
also  frequent  in  costumes  and  on  mummy  cases. 

The  Egyptian  sphinx  is  a  remarkable  object  in  art.  It  is  supposed  to 
represent  the  combination  of  physical  and  intellectual  power,  or  the  kings 
as  incarnation  of  such  attributes.  The  chief  position  of  the  sphinx  was 
on  either  side  of  the  path  leading  to  the  temple. 

The  swelling  asps  we  find  arranged  in  symmetric  opposition,  one  on 
each  side  of  the  cartouche  or  shield,  inclosing  the  hieroglyphic  name  of  a 
king,  having  the  signification  of  dominion. 

The  lotus,  or  water  lily  of  the  Nile,  is  the  type  of  the  inundations 
from  which  Egypt  derives  its  fruitfulness.  {See  p.  36,  examples  of  the 
lotus.} 

The  zigzag  is  the  type  of  the  water,  or  of  the  Nile  itself.  The 
ancient  signification  of  the  zigzag  is  still  preserved  in  the  zodiac  sign  of 
the  water-carrier  or  aquarius. 

The  wave-scroll  represents  water  in  motion.  {See  p.  43,  example  of 
wave-scroll. ) 

The  fret  is  a  type  of  the  labyrinth  of  Lake  Moeris,  with  its  twelve 
palaces  and  three  thousand  chambers,  indicating  in  their  turn  the  twelve 
signs  of  the  zodiac,  and  the  three  thousand  years  of  transmigration  which 
the  wandering  soul  is  condemned  to.  undergo. 

The  Egyptians  systematically  varied  their  pillars  in  the  same  colon- 
nade ;  two  alike  with  their  decorations  complete  were  never  placed 
together  except  as  a  pair  of  opposites.  The  varieties  may  be  reduced  to 
three  essential  forms,  viz.,  truncated  lotus  bud,  lotus  bell,  Isis  head. 
Every  capital  is  a  variety  of  one  of  these  essential  forms,  but  the  lotus  or 
papyrus  bell  of  the  middle  period  is  much  the  more  common. 

The  Egyptian  style  influenced  the  Jew,  the  Greek,  and  the  Persian. 
After  Cambyses  had  plundered  Thebes,  he  carried  a  colon}^  of  Egyptian 
artists  with  him  to  Persia. 


DECORATION,   HISTORIC   ORNAMENT. 


91 


TEMPLE  w  LUXOR          BUD  AND  STEM  OF  THE  PAPYRUS  PLANT  TEMPLE  ON  THE  ISLE  OF  PHILAE, 
1250.   B.C.  106  B.C. 

Examples  of  lotus  bud  and  lotus  bell  capitals  and  of  corresponding  bases 
of  columns.  From  The  Prang  Complete  Course,  Manual  Part  //.,  and  from 
Parallels  of  Historic  Ornament. 


92  REQUIREMENTS  FOR  SECOND   ACADEMIC   CERTIFICATE. 

The  lull,  which  figures  largely  in  the  Persepolitan  sculpture,  is 
explained  as  signifying  the  overthrow  of  the  Assyrian  power  by  the 
Persians. 

In  Egypt  we  find  grandeur  of  proportions,  simplicity  of  parts,  and 
splendor  or  costliness  of  material  —  gold,  silver,  ivory,  precious  stones, 
and  color  —  as  the  great  art  characteristics. 

We  also  find  the  prevailing  feature  of  Asiatic  art  to  be  sumptuousness. 
Examples  :  the  works  of  the  tabernacle,  the  temple  of  Solomon,  the  build- 
ings of  Semiramis  and  Nebuchadnezzar,  and  the  palaces  of  the  Persian 
kings. 

Jewish  ornament,  like  the  Egyptian,  appears  to  be  purely  representa- 
tive. The  only  elements  mentioned  in  Scripture  are  :  the  almond,  the 
pomegranate,  and  the  palm-tree,  the  lily  or  lotus,  oxen,  lions,  and 
cherubim. 

Extending  our  view  still  farther  east,  we  find  the  fantastic  the  most 
striking  feature  of  Hindoo  art. 

The  Egyptian  was  a  painted  style.  Its  architecture  was  marked  by 
the  use  of  oblique  lines.  Length  of  line,  firmness  of  drawing,  severity  of 
form,  and  subtlety  of  curvature  are  its  characteristics.  Dignity,  stern- 
ness, simplicity  bordering  on  monotony,  extreme  solidity,  amounting  to 
heaviness,  was  the  expression  of  the  national  character  of  the  people. 

It  is  not  till  we  come  to  Greece  that  we  find  the  habitual  introduction 
of  forms  for  their  own  sake,  for  their  esthetic  value  purely  as  ornaments, 
arid  this  is  a  very  great  step  in  art. 

In  the  following  drawing  the  winged  globe  may  be  seen  over  the  door  — 
an  example  of  the  placing  of  this  ornament  in  architecture.  The  meaning 
of  the  symbol  and  its  position  are  suggested  in  the  familiar  lines  — 

"  Cover  my  defenseless  head 

With  the  shadow  of  Thy  wing." 

An  inscription  at  Edfou  says  that  Thoth  ordered  that  this  emblem  should  be 
carved  over  every  doorway  in  Egypt. 


DECORATION,    HISTORIC   ORNAMENT. 


93 


The  following  draiving  may  be  found  in  The  Prang  Complete  Course^ 
Manual  Part  IV.,  and  The  Prang  Mote-Book  Illustrations. 


Temple  of  Edfou. 


2.    GREEK   STYLE. 


Three  periods :  - 


Doric  =  Echinus  and  astragal. 
Ionic  =  Doric  and  horns  or  volutes. 
Corinthian  =  Acanthus. 

Greek  ornament  owes  its  originality  to  the  substitution  of  the  esthetic 
for  the  symbolic  principle. 

The  Doric  age  covers  the  first  four  centuries,  from  Rhoe'cus  of  Samos 
to  Pericles. 

The  most  important  manufacture  of  the  period  of  which  remains 
exist,  was  that  of  the  terra-cotta  vases. 

There  are  two  classes  of  painted  Greek  pottery,  the  black  and  the 
yellow;  that  is,  those  vases  that  have  black  figures  and  ornaments,  the 
ground  of  the  vase  being  left  the  color  of  the  clay  ;  and  those  vases  that 
have  the  ground  painted  black,  and  the  figures  left  the  color  of  the 
clay.  {See  example  of  painted  ornament  on  p.  95.) 


94 


REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 


The  anthemion,  or  flower  ornament,  is  more  than  the  mere  honey- 
suckle ;  it  is  this  flower  alternated  with  the  lily  or  analogous  forms. 

Occasionally  in  the  Doric  period  emblematic  ornaments  were  used 
with  regard  to  the  mysteries,  sacrifices,  funeral  rites,  etc.,  but  these 
instances  are  rare. 

The  rainless  seasons  of  Egypt  developed  massive  flat  roofs ;  so  the 
rainy  seasons  of  Greece  rendered  the  sloping  roof  necessary,  the  gable  of 
which  the  Greeks  eventually  developed  into  their  beautiful  pediment. 

The  Doric  order  may  be  descriptively  termed  the  echinus  order,  as 
the  echinus  is  the  ornament  of  the  period. 

"Echinus,  bold  and  simply  marked, 
With  astragal  of  beads  and  pearls 
Of  shining  gold  on  ground  of  red." 

Foliage  performs  a  very  secondary  part  in  this  period. 
The   Doric  capital  consists  of  a  round  flat  cushion  called  the  echinus, 
and  a  large  square  abacus. 


P 


Doric  Capital.     Parthenon. 


Ionic  Capital.     Erechtheion. 


Doric  and  Ionic  capitals.     From  The  Prang  Complete  Course,  Manual 
Part  //. 


DECORATION,   HISTORIC    ORNAMENT. 


95 


The  Ionic  capital  supplanted  the  Doric,  but  added  to  it  horns  and 
volutes. 

The  acanthus  capital  is  called  Corinthian,  because  discovered  by 
Callimachus  of  Corinth,  400  B.C. 

There  is  great  simplicity  in  the  Greek  ornamentation.  It  generally 
consists  of  the  various  elements  arranged  in  simple  horizontal  series  one 
above  another. 

The  Greek  style  was  both  painted  and  sculptured,  and  is  distinguished 
by  its  broad,  flat  surface,  the  use  of  the  ellipse,  and  of  right  lines. 


raii 


Example  of  Greek  painted  ornament.      From    The  Prang  Elementary 
Course  in  Art  Instruction,  Book  5. 


NOTE.  —  In  Goodyear's  Grammar  of  the  Lotus  the  relation  of  the  elements  of  the  border  given 
above  (the  anthemion  and  lily  with  a  modification  of  the  wave-scroll)  to  the  lotus 
forms  in  Egyptian  and  Assyrian  ornament  and  to  the  Egyptian  wave-scroll  are 
given. 


The  ornaments  were  mostly  applied  to  architecture,  and  were  the 
zigzag,  wave  scroll,  fret,  cable  moldings,  astragals,  ogees,  channelingst 
egg  moldings,  bucranes,  guilloche. 


96  REQUIREMENTS   FOR   SECOND    ACADEMIC   CERTIFICATE. 


raw  THE  CHORAGIC  MONUMENT  OF  LYSICRATES  »  «T«NS 


CflOOO 

FRON  T«C  TEMPU  Of  NEMESIS  AT  RHAMNUS 


FROM  tHf    IEMPU  0'  NFMESIS  «'  BMAMNUS 


ROM  rut  TCMPLE  OF  CRECTHEUS  AT  ATHE»S 


Examples    of    Greek    ornament.      From   The  Prang  Complete  Course, 
Manual  Part  IV. 


DECORATION,   HISTORIC   ORNAMENT. 


97 


3.    ROMAN   STYLE. 

The  acanthus  order  was  very  little  used  by  the  Greeks,  while  with 
the  Romans  it  was  a  favorite. 

The  Roman  style  did  not  add  a  single  element  to  the  Greek,  but 
elaborated  the  established  elements  with  every  possible  variety  of  effect, 
and  with  all  the  exuberance  and  richness  of  which  it  was  capable,  devel- 
oping some  of  them  into  colossal  proportions.  It  is  original  only  in  its 
treatment  of  Greek  materials.  Its  chief  peculiarity  is  its  uniform 
magnificence. 

The  only  distinct  Roman  order  is  the  composite,  which  implies  the 
three  Greek  orders  ;  the  echinus,  the  volute,  and  the  acanthus. 

The  shell  and  the  arch  may  be  considered  new  elements  in  ornament. 

The  Roman  characteristics  are  the  elements  most  rarely  used  among 
the  Greeks. 

The  acanthus  and  the  scroll,  in  every  form  except  the  capitals,  are 
peculiarly  Roman. 

Roman  buildings  are  more  massive  than  Greek,  as  well  as  bolder  in 
their  details.  Their  curves  are  much  fuller,  the  Romans  using  the  circular 
where  the  Greeks  use  the  elliptic. 


Acanthus  Rosette. 


.. 
Corinthian  Capital. 


Acanthus  Rosette. 


Examples  of  Roman  ornament.      From    The   Prang   Complete   Course, 
Book  9. 


98  REQUIREMENTS  FOR  SECOND  ACADEMIC   CERTIFICATE. 

The  free  introduction  of  monsters  and  animals  is  likewise  charac- 
teristic of  Greek  and  Roman  ornament,  particularly  of  the  latter. 

The  traits  of  the  three  ancient  styles  —  Egyptian,  Greek,  and  Roman 
—  are  very  distinct. 

The  Egyptian  is  symbolic,  rich,  and  severe. 

The  Greek  is  severe  and  beautiful. 

The  Roman  is  rich  and  beautiful. 

The  Roman  was  a  sculptured  style,  distinguished  by  the  use  of  the 
circle.  Circular  arches  mark  the  architecture.  The  decorations  show 
continuous  growth. 

Roman  ornament  may  be  regarded  as  an  exaggeration  of  the  florid 
Greek. 

B.   MEDIEVAL   STYLES. 
1.    EARLIER   STYLES   OF   CHRISTIAN   ORNAMENT. 

The  peculiar  views  of  the  early  Christians  did  not  influence  art  till 
the  establishment  of  Christianity  by  the  state.  Constantine  was  among 
the  first  champions.  During  the  first  and  second  centuries  Christian 
works  of  art  were  limited  to  symbols,  and  were  never  applied  as  decora- 
tions, but  as  exhortations  to  faith  and  piety.  All  Christian  decoration 
rests  on  this  foundation  —  the  spirit  of  symbolism  prevailing  throughout, 
till  the  return  to  the  heathen  principle  of  beauty  (the  esthetic)  in  the 
period  of  the  Renaissance. 

Early  symbols.  — Monogram  of  Christ,  lily,  cross,  serpent,  fish,  aureole 
(vesica  piscis*),  circle  (nimbus'),  hand. 

The  circle  or  nimbus  represented  the  glory  of  the  head,  and  forms 
the  element  of  the  trefoil  and  quatrefoil,  so  common  in  Byzantine  and 
Gothic  art  —  the  first  having  reference  to  the  Trinity,  the  second  to  the 
four  evangelists  as  the  testimony  of  Christ,  and  to  the  cross,  at  the 
extremities  of  which  we  often  find  four  circles,  besides  the  circle  in 
the  center  which  represents"  the  Lord. 


DECORATION,   HISTORIC   ORNAMENT. 


Examples  of  symbols  used  as  ornament.     From  The  Prang  Elementary 
Course  in  Art  Instruction,  Book  4. 


100         REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 

Thus,  figures  or  combinations  of  three,  four,  or  five  circles  are  com- 
mon in  mediaeval  art,  and  have  sacred  significations.  Many  crosses  are 
composed  entirely  of  five  circles  as  principals,  or  are  prominently  decorated 
with  them. 

In  crosses  composed  simply  of  five  circles,  the  center  circle  has  refer- 
ence to  our  Lord,  and  the  other  four  to  the  evangelists.  Occasionally  the 
symbolic  images  of  the  evangelists  —  the  angel,  the  lion,  the  ox,  and  the 
eagle  —  are  represented  within  these  circles. 

The  lily  or  fleur-de-lis  is  the  emblem  of  the  Virgin  and  of  purity. 
It  is  as  common  in  Christian  decoration  as  the  lotus  in  that  of  Egypt. 

The  serpent  figures  largely  in  Byzantine  art,  as  the  instrument  of  the 
fall,  and  as  a  type  of  the  redemption. 

The  cross  planted  on  the  serpent  is  found  sculptured  on  Mount  Athos. 
The  cross  surrounded  by  the  so-called  runic  knot  is  only  a  Scandinavian 
version  of  the  original  Byzantine  image  —  the  crushed  snake  curling 
around  the  stem  of  the  avenging  cross.  The  cross  with  two  scrolls 
at  the  foot  of  it,  typifying  the  snake,  is  another  form  of  the  same. 

The  hand  is  also  a  characteristic  element  of  early  Christian  art. 

There  is  a  distinction  between  the  Greek  and  the  Latin  form.  The 
Greek  symbolizes  our  Lord,  expressing  His  monogram  by  placing  the 
thumb  on  the  third  finger,  and  slightly  curving  the  second  and  fourth. 
The  Latin  displays  the  thumb,  the  first  and  second  fingers  extended.  The 
Roman  prelate  blesses  in  the  name  of  the  Trinity ;  the  Greek,  in  the 
name  of  our  Lord. 

The  dome  has  its  reference  to  the  vault  of  heaven  and  the  glorification 
of  our  Lord. 

The  terms  Byzantine  and  Romanesque  are  almost  synonymous.  The 
wider  significance  of  the  Romanesque  is  found  in  the  earlier  Christian  round 
arch  in  contradistinction  to  the  Gothic  or  later  pointed  arch  varieties  of 
the  north. 

If  any  style  can  be  distinguished  by  the  exclusive  title  of  Christian 
art,  it  is  the  Byzantine. 

NOTE.  —  The  Byzantine  is  the  eastern  and  the  Romanesque  the  western  European  expression 
in  ornament,  each  influenced  by  local  traditional  expression. 


DECORATION,    HISTORIC    ORNAMENT. 

BYZANTINE.  ROMANESQUE. 


101 


St.  Sophia,  Constantinople. 


Cathedral,  Limburg  on  the  Lahn. 

BYZANTINE. 


From  Southern  Germany,  XII.  Century. 
ROMANESQUE. 


From  Southern  Germany,  XI.  Century. 

Examples  of  Byzantine  and  Romanesque  ornament.     From  The  Prang 
Complete  Course,  Book  9. 


102          REQUIREMENTS   FOR   SECOND   ACADEMIC    CERTIFICATE. 

2.    SARACENIC   ORNAMENT. 

The  Arabs  had  no  art  or  artists  of  their  own ;  they  came  from  their 
deserts  with  no  more  taste  or  knowledge  of  such  matters  than  a  mere 
love  of  finery  could  give  them.  They  could  not  but  be  struck  by  the 
gorgeous  display  of  cities  like  Damascus,  which  fell  into  their  hands  in 
634  A.D.  The  Byzantine  artists  were  pressed  into  the  service  of  the 
Arabian  califs,  and  were  ordered  to  raise  rich  mosques  and  palaces.  The 
results  were  seen  in  Damascus,  Cairo,  and  Cordova. 

The  conditions  of  the  new  Mohammedan  law  were  stringent ;  in 
endless  designs  in  mosaic,  marquetry,  stucco,  there  was  to  be  no  image  of 
a  living  thing,  vegetable  or  animal. 

This  led  to  a  very  distinctive  style  of  decoration :  vegetable  forms 
were  now  excluded  for  the  first  time  ;  ordinary  forms  from  the  classic 
periods,  with  geometric  symmetry,  formed  the  most  abundant  material. 
Mere  curves,  angles,  or  interlacings  constituted  the  chief  burden  of  a. 


f*rw4nMMi 

From  the  Court  of  the  Lions. 


From  the  Court  of  the  Lions. 


Examples  of  Saracenic  capitals.     From   The  Prang  Complete  Course, 
Book  10. 


DECORATION,   HISTORIC   ORNAMENT. 


103 


design  distinguished  only  by  a  variety  of  color.  Although  flowers  were 
not  directly  admitted,  the  great  mass  of  minor  detail  was  composed  of 
flower  forms  disguised,  e.g.  the  Alhambra.  Still  no  actual  flower  ever 
occurs  as  the  exclusion  of  all  natural  images  is  the  foundation  of  the 
style  in  its  purity.  The  omission  of  the  crescent  in  Saracenic  or  Moham- 
medan work  generally  is  worthy  of  notice.  It  is  not  to  be  found  in  any 
eaiiy  work.  As  it  now  appears  in  the  mosques  of,  Constantinople,  it 
seems  to  be  simply  the  trophy  of  the  conquest  of  the  Greek  capital,  the 
ancient  Byzantium,  of  which  it  was  the  symbol.  Constantinople  was  not 
captured  till  1453  A.D. 

Characteristics.  —  Ogee,  crescent,  scalloped  arches,  pointed  arch,  round 
Romanesque  arch. 

The  Saracenic  was  the  period  of  gorgeous  diapers.  The  custom  of 
decorating  the  entire  surface  of  apartments  was  most  favorable  to  the 
.development  of  this  class  of  design. 

The  Alhambra  displays  endless  specimens,  all  in  relief,  and  enriched 
with  gold  and  color,  chiefly  blue  and  red.  The  Genoa  damask,  the  Arras 
tapestries,  and  modern  paper  hangings  are  all  imitations  of  these  Saracenic 
wall  diapers.  The  very  word  damask  means  Damascus  work.  Damascus 
is  still  famous  for  its  textile  fabrics  in  pure  Saracenic  taste,  and  it  pro- 
duces a  great  variety  of  patterns  in  silk  and  in  cotton,  the  designs  of 
which  are  chiefly  stripes  and  inscriptions,  good  wishes  and  pious  sentences. 
(This  style  has  of  late  found  its  way  into  railway  carriages,  in  which  the 
initials  of  the  company  are  worked  as  an  ornament,  right,  left,  and  upside 
down.)  In  the  Alhambra  all  the  Arabian  features  are  preserved  except 
the  scroll  and  anthemion. 


Examples  of  Saracenic  ornament.     From  The  Prang  Complete  Course, 
Book  10. 


104  REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 

The  Saracenic  is  distinguished  for  its  geometric  tracery,  strapwork, 
inscriptions,  and  wonderful  coloring. 

It  has  been  said  by  a  competent  judge  that  "  Every  principle  which 
we  can  derive  from  the  study  of  the  ornamental  art  of  other  nations  is 
not  only  present  here,  but  was  more  universally  and  truly  obeyed  by  the 
Moors  than  by  any  other  people." 

It  has  also  been  said  that  there  are  really  but  three  pure  styles,  all 
others  being  derived  from  them,  viz.  :  Egyptian,  Greek,  Saracenic. 

3.    GOTHIC   ORNAMENT. 

This  style  grew  out  of  the  Byzantine,  and  flourished  chiefly  on  the 
Rhine,  in  the  north  of  France  and  in  England.  Salisbury  cathedral, 
A.D.  1221,  and  the  Cologne  cathedral,  A.D  1322,  are  characteristic  speci- 
mens. It  became  quite  extinct  in  England  in  the  sixteenth  century. 
This  catastrophe  was  the  result  of  the  Reformation. 

England  has  the  seven  varieties  of  Gothic  architecture  :  — 

1.  Saxon  or  simple  round  arch,  Romanesque. 

2.  Round  Norman  (zigzag). 

3.  Sharp  Norman  (Henry  II.). 

4.  Early  English  Gothic  (Henry  III.). 

5.  Decorated  Gothic  (the  Edwards). 

6.  Perpendicular  Gothic  (Henry  VII.). 

7.  Debased  perpendicular  (Henry  VIII.). 

There  are  not  many  matters  on  which  people  have  been  more  deluded 
of  late  years  than  on  the  subject  of  the  nationality  and  of  the  Christianity 
of  Gothic  architecture. 

As  regards  Christianity  of  style  the  most  Christian  architecture  is 
that  of  the  Mohammedan  mosques,  which  owe  their  forms  to  the  early 
Christian  symbols  as  developed  by  the  Byzantine  Greeks. 

The  general  characteristics  of  the  Gothic,  as  an  architectural  style, 
are  these :  It  is  essentially  pointed  or  vertical,  and,  in  its  detail,  is  geo- 


DECORATION,   HISTORIC   ORNAMENT. 


105 


metric,  —  in  its  window  tracings,  in  its  openings,  in  its  clusters  of  shafts 
and  bases,  and  in  its  suits  of  moldings,  —  but  it  is  geometric  in  its  con- 
struction, or  in  its  form  only,  not  in  its  spirit  or  motive. 

Climate  has  had  much  to  do  with  the  peculiar  development  of  the 
Gothic.  It  has  flourished  only  in  cold  regions  subject  to  much  rain 
and  snow.  A  Gothic  church  frequently  looks  like  a  fortification  against 
the  weather,  with  its  high  pitched  roof,  solid  buttresses,  narrow  doors  and 
windows. 

The  spire  is  a  common  feature  of  the  Gothic.  The  spire  and  the  tower 
doubtless  owe  their  development  as  much  to  use  as  to  ornament.  In  early 
times  they  were  landmarks,  performing  other  useful  services  besides  that 
of  indicating  the  locality  of  the  church,  or  of  securing  the  elevation  of 
its  bells. 


.  -. 


Notre  Dame,  Paris. 


From   The  Prang   Complete   Course,   Manual  Part  VII.,  and  from   The 
Prang  Mote-Book  Illustrations. 


106         REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 


w^tf/T&^^F^^^^rw*^ 
cr  ^fe^S^fjt  3t  $^&^& '  T^ 

fOiny^^ 


From  the  Abbey  of  St.   Denis. 


From  Rheims. 


Examples  of  Gothic  tracery  and  of  Gothic  capitals.     From  The  Prang 
Complete  Course,  Book  10- 


DECORATION,    HISTORIC   ORNAMENT.  107 

Ornamentally,  the  Gothic  is  the  geometric  and  pointed  element 
elaborated  to  its  utmost.  Its  only  peculiarities  are  in  the  combination  of 
detail  in  its  decorations,  the  conventional  and  the  geometric  prevailing  at 
first,  and  afterward  these  combined  with  the  elaboration  of  natural  objects. 

The  Byzantines  never  did  this ;  the  Gothic  vesicas,  trefoils,  quatre- 
foils,  cinquefoils,  and  geometric  varieties  are  infinite.  Early  English 
Gothic  presents  the  following  characteristics :  mullions  instead  of  piers, 
windows  of  several  lights,  flying  buttresses,  crocketed  pinnacles,  compli- 
cated moldings,  clustered  columns,  round  capitals,  an  extensive  applica- 
tion of  foliage,  with  the  trefoil  leaf.  The  dog-tooth  molding  was  also 
another  characteristic ;  in  its  original  form  it  was  a  simple  vesica  cross, 
but  being  contracted  to  fill  hollows,  it  assumed  its  present  form  in  the 
early  Plantagenet  period. 

It  is  the  geometric  tracery  which  stamps  a  design  as  Gothic.  Exam- 
ples :  Tudor-flower,  fleur-de-lis,  crocket  leaf,  trefoil,  vine  scroll,  etc. 

In  this  style  Norman  and  classic  ornament  are  not  admissible ;  also 
tropical  plants  would  be  inconsistent. 

C.    MODERN   STYLE. 
RENAISSANCE   ORNAMENT. 

This  name  implies  the  revival  of  art  or  its  rebirth.  It  was  the 
revival  of  the  classic  order  of  architecture,  the  ancient  art  of  Greece  and 
Rome  in  the  place  of  the  Middle  Age  styles.  The  essence  of  all  Middle 
Age  art  was  symbolism,  and  the  transition  from  symbolism  to  the  unal- 
loyed principles  of  beauty  is  the  great  feature  of  the  revival.  Art  was 
wholly  separated  from  religion  in  the  Renaissance,  but  this  transition  was 
developed  gradually. 

In  Italy  the  change  first  began  about  the  year  1300.  This  was  in 
some  degree  owing  to  the  crusades,  but  more  specially  to  the  Latin  con- 
quest of  Constantinople  in  1204,  which  displayed  many  treasures  of 
ancient  art  to  the  Venetians.  Four  ancient  bronze  horses,  a  Christian 


108          REQUIREMENTS   FOR   SECOND    ACADEMIC    CERTIFICATE. 

trophy  of  this  Venetian  crusade,  still  adorn  the  fagade  of  St.  Mark's. 
The  beginning  of  the  Renaissance  period  may  be  known  as  the  trecento, 
the  more  finished  as  the  cinquecento,  and  the  latest,  the  most  modern, 
as  the  Louis  Quatorze. 


FROM   THE    MUNICIPAL  PALACE,  BRESCIA..ITALY 

FORMENTONE,    I  1508   1 

Example  of  Renaissance  ornament.    From  Parallels  of  Historic  Orna- 
ment, sheet  of  Renaissance  style. 

During  the  past  feiv  years  Renaissance  ornament  has  been  used 
quite  generally  on  buildings,  and  in  wall  paper,  chintz,  and  drapery  designs. 
It  is  easy,  therefore,  for  pupils  to  get  a  general  observation  of  Renaissance 
ornament  in  their  homes  and  along  the  street.  This  kind  of  observation, 
while  it  may  not  give  the  pupils  anything  that  can  be  drawn,  stimulates  the 
interest  in  ornament  and  fixes  habits  of  comparing  the  examples  given  with 
those  found  generally.  Such  comparison  should  lead  to  good  judgment  not 
only  as  to  the  styles  of  ornament,  but  also  as  to  the  value  of  the  examples  of 
given  styles. 


MATERIALS   FOR  PRESENTING   WORK.  109 


BOOKS,   MANUALS,   AND    MATERIALS   FOR   CARRYING  OUT    THE 
WORK  IN   DECORATION  AND   HISTORIC   ORNAMENT. 


Methods  of  presenting  the  work  in  geometric  design  to  pupils  will  be 
found  in  the  following  books  :  — 

THE  AMERICAN  TEXT  BOOKS  OF  ART  EDUCATION,  Books  X.,  XI. 
THE    PRANG    BOOK   OF   GEOMETRIC    PROBLEMS. 

For  the   work  in   the   conventionalization  of  plant  forms  and  in   the 
making  of  designs  the  following  books  will  furnish  what  is  needed :  — 

THE  PRANG  COMPLETE  COURSE,   MANUALS   Parts  IV.  and  VII. 

For  the  work  in  historic  ornament  the  following  books,  etc.,  will  furnish 
abundant  material:  — 

THE    PRANG   COMPLETE  COURSE,  Books  7-10  inclusive  and  MANUAL, 
Part  IV. 

THE    AMERICAN    TEXT    BOOKS    OF   ART    EDUCATION,    Books   XIII. 
and  XIV. 

THE  PARALLELS  OF  HISTORIC   ORNAMENT,  without  color,  in  all  the 
Historic  Styles. 

NOTE.  —  The  Parallels  of  Historic  Ornament  give  the  equivalent  of  the  sheets  of  Owen  Jones' 
Grammar  of  Ornament  in  variety  of  figures,  ete.  They  are  published  with  and 
without  color.  They  may  be  had  of  THE  PRANG  EDUCATIONAL  COMPANY. 


110         REQUIREMENTS   FOR   SECOND   ACADEMIC    CERTIFICATE. 


C.   CONSTRUCTION,   OR  GEOMETRIC  AND  WORKING  DRAWINGS. 

Geometric  and  working  drawings.  —  Working  drawings  of  type 
forms,  and  objects  based  on  them  in  oblique  positions  ;  working  drawings 
of  combinations  of  two  or  more  objects  in  simple  positions ;  construction 
of  ellipses ;  oblique  sections  of  cylinders,  cones,  pyramids,  and  prisms ; 
intersections  of  cylindric  surfaces,  and  the  development  of  the  intersect- 
ing surfaces;  development  of  oblique  sections  of  cones,  pyramids,  and 
prisms;  isometric  projections.  (See  Plates  28-32  of  Syllabus  No.  8.) 


Front  View. 


Section  on  EF. 


Example  of  views  of  a  solid  oblique  to  the  vertical  plane,  and  with  a 
sectional  view.     From  The  Prang  Complete  Course,  Manual  Part  VL 


The  drawing  on  p.  102  shows  the  object  oblique  to  the  vertical  plane,  the 
one  below  shows  the  object  oblique  to  the  ground  plane.  A  still  more  difficult 
problem  may  be  made  by  placing  an  object  oblique  to  both  the  vertical  and  the 
ground  plane. 


Top  View. 


i 


Left  Side  View. 


Front  View. 


Right  Side  View. 


Example  of  the  projection  of  a  solid  oblique  to  the  ground  plane. 
JFrom  Rouillion's  Mechanical  Drawing,  published  by  The  Prang  Educational 
Company. 


112         REQUIREMENTS   FOR   SECOND   ACADEMIC   CERTIFICATE. 

The  drawing  given  on  this  page  is  an  example  of  the  work  in  one  of 
the  most  practical  lines  of  mechanical  drawing.  This  class  of  drawing  fits 
directly  for  work  in  draughting  rooms.  The  difficulty  in  the  making  of  this 
kind  of  drawing  does  not  lie  in  the  execution,  but  in  the  observation  of  the 
details.  Pupils  are,  however,  generally  interested  in  the  structure  and  action 
of  machinery,  and  through  their  interest  in  it  are  easily  led  to  the  study  of  its 
facts  and  to  the  expression  of  these  facts  in  working  drawings. 

The  drawing  given  is  valuable  as  showing  a  considerable  number  of 
conventions,  and  would  be  useful  for  actual  study  by  a  class.  The  difference 
in  direction  of  the  section  lines  is  to  indicate  that  the  parts  represented  are 
of  different  materials.  If  pupils  are  good  observers,  the  questions  arising 
from  the  observation  of  this  and  oiher  new  points  as  a  result  of  their  own 
investigation  would  lead  to  a  clearer  understanding  of  working  drawings 
than  could  be  arrived  at  by  any  other  means. 


Example  of  Machine  Detail.     From  Roui I  lion's  Mechanical  Drawing. 


GEOMETRIC   AND  WORKING  DRAWINGS. 


113 


Surface  developments  and  patterns. 

The  illustration  on  this  page  belongs  to  another  practical  line  of  mechan- 
ical drawing —  that  of  pattern  making.  This  drawing,  while  it  gives  a  pat- 
tern, belongs  to  the  preliminary  exercises  in  which  the  principles  are  developed 
that  are  afterward  applied  in  the  solution  of  the  more  difficult  problems  of  actual 
pattern  making.  Such  drawings  as  these  should,  therefore,  be  considered  a 
means,  first,  of  securing  the  observation  of  all  objects  in  the  making  of  which 
surface  development  is  a  preliminary  step,  and,  second,  as  fixing  the  princi- 
ples upon  which  a  proper  understanding  of  the  subject  is  dependent.  Work 
in  this  subject  is  purely  geometric,  and  is  valuable,  therefore,  as  a  means  of 
mathematical  training.  This  work  gives  a  kind  of  manual  training  possible 
under  any  school  conditions. 


DEVELOPMENT*'  TRUNCATED  HEX.  PRISM. 


Example   of  oblique   section   of  prism,   with   surface    development   of 
frustum.     From  Rouillion's  Mechanical  Drawing. 


114         REQUIREMENTS   FOR  'SECOND   ACADEMIC   CERTIFICATE. 

The  illustrations  in  surface  development  have  not  been  selected  with  a 
view  to  giving  all  the  consecutive  steps,  but  rather  to  show  the  main  features 
in  a  course  in  this  subject  such  as  is  suggested  by  the  Regent's  requirements. 
The  principles  involved  in  developing  the  surface  of  the  frustum  of  the  cone 
enter  into  an  extensive  and  useful  line  of  pattern  making,  and  this  exercise 
may,  therefore,  be  counted  as  a  main  feature  in  the  working  out  of  the 
subject  of  surface  development. 


Example  of  oblique  section  of  cone,  with  surface  development  of  frustum. 
From  Rou  ill  ion's  Mechanical  Drawing. 


GEOMETRIC    AND   WORKING   DRAWINGS. 


115 


The  intersection  of  surfaces  is  another  main  feature  in  pattern  making. 
The  apparatus  for  heating  and  ventilating  the  school  building  may  well  be 
studied  with  interest  by  pupils  in  connection  with  this  subject,  both  because 
of  its  character  and  because  the  manufacture  of  such  apparatus  is  a  great 
industry.  The  hot  and  cold  air  shafts  are  either  "  intersections  of  cylindric 
surfaces "  or  intersections  of  the  surfaces  of  square  or  oblong  prisms. 
'•'•Elbows  "  are  often  very  ingeniously  made  in  air  shafts  in  order  to  carry  the 
shaft  around  pillars,  under  staircases,  etc.  In  these  elbows  will  be  found  a 
great  variety  of  intersections  which  earnest  pupils  will  enjoy  studying  out. 
The  foundation  for  intelligent  work  can  easily  be  laid  by  the  use  of  such 
materials  as  may  readily  be  found  in  the  different  parts  of  a  school  building. 


TOUR-PIECE:  ELBOW. 


Application  of  intersection  of  cylindric  surfaces  in  a  four-piece  elbow. 
From  Rouillion's  Mechanical  Drawing. 


116         REQUIREMENTS   FOR   SECOND   ACADEMIC    CERTIFICATE. 

An  isometric  projection  is  one  in  which .  the  object  represented  is 
assumed  to  be  inscribed  in  a  cube,  one  of  whose  diagonals  is  perpendicular 
to  the  plane  on  which  the  projection  is  made.  Those  edges  of  the  object 
which  are  parallel  to  the  edges  of  the  assumed  cube  will  be  equally  fore- 
shortened in  the  projection.  Such  drawings  may  therefore  be  used  as 
working  drawings,  while  they  give,  at  the  same  time,  a  picture  (some- 
what distorted)  of  the  object.  These  drawings  are  extensively  used  by 
carpenters  and  masons. 


Example  of  isometric  projection.     From  Ware's  Building  Construction^ 
published  by  The  Prang  Educational  Company. 

NOTE. —  The  object  of  isometric  projection  is  to  give  a  pictorial  effect  in  mechanical  drawings 
while  preserving  the  relative  proportions  of  the  parts  of  an  object  so  that  the  draw- 
ings may  be  made  to  scale  and  measurements  readily  taken  from  them.  A  simple 
and  clear  presentation  of  isometric  projection  may  be  found  in  Anthony's  Mechani- 
cal Drawing,  which  will  doubtless  give  material  for  all  necessary  preparation  in 
this  subject. 


MATERIALS   FOR   PRESENTING  WORK.  117 


BOOKS,  MANUALS,  AND  MATERIALS  FOR  CARRYING  OUT  THE 
WORK  IN  GEOMETRIC  AND  WORKING  DRAWINGS. 


Methods  of  instructing  pupils  in  geometric  problems  and  in  projection 
in  the  third  angle  (bringing  the  top  view  above  the  front  view)  will  be 
found  in  the  following  books  and  Manuals  :  — 

THE  PRANG  COMPLETE  COURSE,  Books  7-10  inclusive,  and  the  accom- 
panying MANUALS,  Parts  IV.,  VI.,  and  VII.  The  glossary  of  terms  in 
Manual  Part  IV.  is  a  valuable  aid  to  teachers. 

THE  PRANG  BOOK  OF  GEOMETRIC   PROBLEMS. 
ROUILLION.'S   MECHANICAL   DRAWING. 

If  projection  in  the  first  angle  (bringing  the  plan  or  top  view  below 
the  elevation  or  front  view)  is  preferred,  the  following  books  will  give  the 
necessary  instruction :  — 

THE  AMERICAN  TEXT  BOOKS  OF  ART  EDUCATION.  Books  XIII.  and 
XIV. 


118        REQUIREMENTS  FOR  SECOND  ACADEMIC   CERTIFICATE. 


A   SUGGESTED   COURSE 

OF  ONE   HUNDRED  LESSONS  TO  PREPARE  FOR  THE  REGENTS' 

EXAMINATION  IN  ADVANCED  DRAWING  FOR  THE 

SECOND  YEAR  ACADEMIC  CERTIFICATE. 

Thirty  Lessons  in  pictorial  drawing,  distributed  as  follows  :  — 

Ten  Lessons  in  mechanical  perspective. 

Ten  Lessons  in  freehand  perspective  from  interesting  objects  —  singly  and 

in  groups  —  in  outline,  and  in  light  and  shade. 
Five  Lessons  in  copying  from  good  examples  of  light  and  shade. 
Five  Lessons  in  sketching  —  from  the  window,  or  out  of  doors. 

Thirty  Lessons  in  historic  ornament  and  decorative  design,  distributed  as 
follows  :  — 

Ten  Lessons  in  the  study  of  styles  of  historic  ornament,  with  drawing 
from  good  examples  of  all  the  styles.  The  memorizing  of  good  ex- 
amples of  each  style  is  most  valuable. 

Five  Lessons  in  the  laying  out  of  designs.  (Frank  G.  Jackson's  Elements 
of  Design,  and  Lewis  F.  Day's  Analysis  of  Ornament  are  valuable  aids 
in  this  work.)  This  work  would  be  geometric  in  character,  a  frame- 
work upon  which  to  apply  historic  motives  and  decorative  forms  de- 
rived from  plants  by  conventionalization. 

Five  Lessons  in  the  adaptation  of  historic  motives  to  the  making  of  new 
designs.  The  preceding  work  forms  a  basis  for  this  adaptation. 

Ten  Lessons  in  the  conventionalization  of  plant  forms,  and  the  adaptation 
of  the  conventionalized  form  to  geometric  enclosing  figures,  and  to 
leading  lines  laid  out  on  a  geometric  plan.  See  examples,  pp.  31 
and  34  of  this  manual. 


SUGGESTED  COURSE   OF   STUDY. 


119 


Thirty  Lessons  in  geometric  and  working  drawings,  distributed  as  follows  : 
Five  Lessons  in  geometric  problems,  including  the  construction  of  ellipses. 

Ten  Lessons  in  the  drawing  of  views  of  type  forms  and  objects  in 
oblique  positions  to  the  vertical  and  to  the  ground  plane,  and  in  the 
drawing  of  combinations  of  models  and  objects. 

Ten  Lessons  in  the  drawing  of  oblique  sections  of  cylinders,  cones, 
prisms,  etc. 

Ten  Lessons  in  the  development  of  surfaces  of  oblique  sections  of  the 
cylinder  and  cone,  and  of  prisms  and  pyramids,  and  of  intersections 
of  cylindric  surfaces. 

Five  Lessons  in  isometric  projection. 

Ten  Lessons  in  a  general  review  of  all  the  subjects, 

NOTE.  — The  materials  for  carrying  out  this  work  have  been  given  at  the  end  of  each  subject 
division,  in  order  to  make  the  special  application  of  the  material  to  the  subject  in 
hand  better  understood. 


SUGGESTIONS 

FOR  THE 

PREPARATION   OF   TEACHERS  AND   TRAINING  CLASSES 

TO    MEET   THE    UNIFORM    EXAMINATIONS 

IN    DRAWING 


FOR 


FIRST,  SECOND,  AND  THIED  GEADE  CEETIFICATES 


AND  FOR 


TRAINING  CLASS  CERTIFICATES 


BASED   ON  THE   SYLLABUS   ISSUED  BY  THE   DEPARTMENT 

OF   PUBLIC   INSTRUCTION  IN  THE   STATE   OF 

NEW   YORK    IN    1896 


"Mind,  which  grows  .  .  .  like  a  spirit,  by  mysterious  contact 
of  spirit ;  Thought  kindling  itself  at  the  fire  of  living  thought." 
—  CARLYLE. 

"For  him  fruits  and  silks  and  skies  glow  with  color; 
morning,  noon,  and  twilight  produce  different  atmospheres; 
mountains,  buildings,  human  beings  flow  in  graceful  lines ;  the 
sunlight  falls  like  Danae's  golden  shower;  the  moonlight  sleeps 
in  silver  across  the  land  and  sea."  —  VAN  DYKE. 


UNIFORM   EXAMINATIONS   IN   DRAWING.  123 


INTRODUCTION. 

In  the  preface  of  the  SYLLABUS  OF  DRAWING  issued  by  the  Depart- 
ment of  Public  Instruction  in  the  State  of  New  York,  the  following 
statement  is  made  :  - 

"The  following  lessons  in  drawing  are  intended  as  a  guide  for  use 
in  teachers'  training  classes,  and  teachers'  institutes  throughout  the  State. 
They  are  designed  to  present  in  order  the  most  important  elementary 
principles  underlying  the  study  of  the  subject  to  those  who  are  preparing 
to  teach.  The  more  advanced  subjects  of  art  education  are  omitted.  For 
the  treatment  of  advanced  drawing,  decoration,  historic  ornament,  and  a 
more  elaborate  presentation  of  pictorial  drawing,  the  teachers  are  referred 
to  the  Regents'  Syllabus." 

It  will  be  seen  from  this  that  the  work  in  this  Department  runs  par- 
allel with  that  of  the  Department  of  Regents,  and  that  any  scheme  of 
work  which  will  prepare  for  the  Regents'  Examinations  will  also  prepare 
for  the  Uniform  Examinations,  except  in  Color  and  in  Illustrative 
Drawing. 

While  Illustrative  Drawing  is  not  given  in  the  syllabus  issued  by  the 
Department  of  Public  Instruction,  the  examinations  often  require  the 
illustration  of  a  stanza  or  a  line  of  poetry.  It  seems  well,  therefore,  to 
take  up  this  subject  in  the  preparation  for  the  Uniform  Examinations. 

In  the  following  pages  the  purpose  is  to  give  the  subjects  required  in 
the  Uniform  Examinations  and  Examinations  in  Training  Classes  not  given 
in  the  preceding  work  on  the  preparation  for  Regents'  Examinations. 


124  REQUIREMENTS    FOR  UNIFORM   EXAMINATIONS. 


REQUIREMENTS   FOR    THE    PREPARATION   FOR   UNIFORM 

EXAMINATIONS. 

Introductory  note.  —  The  following  statements  of  requirements  in  Color 
are  taken  from  Drawing  for  Use  in  Teachers'  Institutes  and  Training  Classes, 

issued  by  the  Department  of  Public  Instruction  of  the  State  of  New  York 
in  1896.     All  illustrations  are  taken  from  the  Prang  publications. 

I.     THE   STUDY  OF  COLOR. 

A  consideration  of  the  value  of  color  study,  the  selection  and  recognition 
of  the  six  positive  (or  standard}  spectrum  colors,  twelve  intermediate  hues 
of  the  spectrum,  and  the  naming  and  recognition  of  the  same. 

The  value  of  color  study  :  - 

From  an  esthetic,  a  utilitarian,  and  an  educational  standpoint,  and 
particularly  in  connection  with  the  study  of  form. 

"  The  effect  of  such  a  training  (a  well-developed  and  carefully  trained 
color  sense)  on  the  higher  development  of  our  people  .  .  .  would  be  of 
the  greatest  value."-  -HENRY  LEFAVOUK. 

"  There  is  scarcely  any  subject  that  has  so  many  practical  and  scien- 
tific aspects  as  the  subject  of  color.  Its  great  importance  in  the  arts, 
and  its  contribution  to  the  enjoyment  of  life,  are  matched  by  the  multi- 
plicity of  problems  in  the  physical  and  philosophical  sciences  with  which 
it  is  connected."  -HENRY  LEFAVOUR. 

In  vision,  color  and  form  are  the  principal  factors ;  in  truth,  they  are 
all,  if  we  consider  light  and  shade  as  a  part  of  color.  Outline,  so  called, 


THE   STUDY   OF   COLOR. 


125 


is  simply  the  edge  of  one  mass  of  color  against  another;  or,  in  other 
words,  the  outline  is  denned  by  the  juxtaposition  of  colors,  or  by  one 
color  being  relieved  Against  another. 

The  six  positive  spectrum  colors  :  - 

There  have  been  many  disputes  concerning  standards  of  color.  It 
is  now  generally  accepted  that  the  solar  spectrum,  "  nature's  standard  of 
color,"  must  be  ours.  From  the  numerous  colors  composing  the  spectrum, 
the  following  six,  viz.,  red,  orange,  yellow,  green,  blue,  and  violet,  are 
selected  as  the  positive  or  principal  spectrum  colors. 

Warm  and  cool  colors  :  - 

Red,  orange,  and  yellow,  and  combinations  of  the  same,  are  classed  as 
warm  colors  ;  blue,  green,  and  violet  are  classed  as  cool  colors. 

Hues :  - 

The  space  in  the  spectrum  between  pure  red  and  pure 
orange  is  occupied  by  a  series  of  colors  graded  from  red  to 
orange,  the  red  predominating  at  first,  and  gradually  being 
dominated  by  the  orange. 

Any  color  thus  produced  by  blending  two  positive  spec- 
trum colors  is  a  hue  of  the  predominating  positive.  In 
naming  the  hue,  the  names  of  both  positive  colors  are  given, 
the  name  of  the  modifying  color  being  used  as  an  adjective 
modifier  of  the  name  of  the  predominating  color. 

Numerous  hues  are  found  intermediate  between  each 
pair  of  adjacent  positives,  and  of  these  hues  two  only  have 
been  selected  for  use  in  elementary  color  study.  See  illus- 
tration for  arrangement. 

The  colors  of  the  spectrum  are  supposed  to  complete  a 
circuit,  and,  in  the  chart,  are  shown  as  separated  midway  between  red 
and  violet.  The  circuit  can  be  shown  by  placing  the  two  ends  of  the 
chart  together  in  cylindrical  form. 


VR 

R 

0-R 

RO 

O 

Y.O 

OY 

Y 

GY 

YC 

G 

BG 

CB 

B 

VB 

BV 

V 

RV 

126 


REQUIREMENTS   FOR   UNIFORM   EXAMINATIONS. 


TINT  2 


Tm-ri 


KEY 


SHADE  2. 


The  study  of  tints  and  shades,  and  their  arrangement  in  scales;  also  of 
neutrals,  broken  colors,  and  grays. 

A  tint  is  any  color  modified  by  increased  light,  or 'blended  with  white. 

A  shade  is  any  color  modified  by  diminished  light,  by 
shadow,  or  blended  with  black. 

A  color  scale  is  a  regular  series  of  colors  composed  of 
some  central  color  graduating  by  a  succession  of  steps  to  a 
light  tint  on  one  side,  and  to  a  deep  shade  on  the  other. 

The  key  of  a  color  scale  is  the  central  color  which  is 
modified  to  produce  the  various  tints  and  shades  of  that 
scale. 

NOTE.  —  For  convenience,  the  tint  nearest  the  key  is  called  the  first  tint,  and 
the  next  the  second  tint ;  the  shade  nearest  the  key  is  the  first 
shade,  and  the  next  the  second  shade.  The  scale  may  be  extended 
in  either  direction,  to  white  or  to  black;  but,  ordinarily,  the  key 
with  two  tints  and  two  shades  will  sufficiently  illustrate  the  scale. 

Black  and  white  are  known  as  neutrals.  By  many,  silver  and  gold 
are  also  placed  in  this  class. 

Theoretically,  pure  black  and  pure  white,  when  blended,  will  produce 
neutral  gray.  Practically,  neutral  gray  does  not  exist. 

A  broken  color  is  any  color  modified  by  gray. 

Other  grays.  —  If  in  a  broken  color  the  gray  be  continually  increased, 
and  the  color  reduced  in  proportion,  a  point  will  be  reached  when  the 
gray  will  predominate,  and  the  broken  color  will  become  a  colored  gray. 
When  such  gray  is  composed  in  part  of  the  warm  colors,  it  is  called  a 
warm  gray ;  when  composed  in  part  of  the  cool  colors,  a  cool  gray. 

NOTE.  —  A  broken  color  may  be  produced  by  placing  a  tint  in  shadow,  or  a  shade  in  high 
light. 

The  study  of  complementary  colors. 

Two  colors  which,  when  combined  in  correct  proportions  and  under 
proper  conditions,  will  produce  white  or  gray,  are  said  to  be  complementary 
to  each  other. 


THE   STUDY   OF   COLOR. 


127 


The  complementaries  of  the  six  positives,  as  approximated  in  the  best 
material  available  for  school  use,  are  as  follows : 
red  and  blue  green  ;    orange   and   green   blue ; 
yellow  and  violet  blue ;    green  and  violet  red ; 
blue  and  orange  yellow  ;  violet  and  green  yellow. 

Experiments  for  finding  the  complementary 
color. 

1.  The  first  clue  to  the  complementary  of  a 
given  color  may  be  obtained  in  the  following 
manner  :  — 

Gaze  intently  for  some  seconds  upon  a  given 
color,  say  red,  placed  against  a  white  background. 
When  the  eye  is  fatigued  with  this  color,  sud- 
denly remove  the  red  or  cover  it  with  a  white 
surface.  There  will  then  appear  in  the  place  of 
the  red,  or  upon  the  white  surface,  a  faint  after 
image,  of  the  same  size  and  shape  as  the  original 
red,  which  is  called  the  accidental  color,  and  which  is  supposed  to  be 
identical  with  the  complementary  color.  Though  the  image  is  faint,  it 
is  sufficient  to  furnish  a  clue  to  the  composition  of  this  complementary 
color,  in  this  case  a  combination  of  green  and  blue,  which  may  be  pro- 
duced more  exactly,  and  tested  on  the  color  top. 

The  study  of  harmony  in  color. 

For  the  study  of  harmony  in  color,  the  following  are  deemed  essential 
and  sufficient :  —  contrasted  harmony,  dominant  harmony,  complementary 
harmony,  and  analogous  harmony. 

The  perfection  of  any  one  of  these  harmonies  depends  upon  the  excel- 
lence of  judgment  and  the  nicety  of  taste  of  the  individual. 

NOTE.  — An  appreciation  of  color  harmony  can  be  cultivated,  in  most  cases,  by  means  of  much 
observation  of  good  color  arrangements  and  much  practice  in  making  color 
arrangements.  To  study  color  in  nature  as  well  as  in  art  is  an  aid  to  growth  in 
the  appreciation  of  color. 


R     , 

BG- 

O. 

G.B 

Y 

v.B 

G 

V.R 

B 

OY 

V 

G.Y 

128 


REQUIREMENTS   FOR   UNIFORM   EXAMINATIONS. 


Contrasted  harmony  is  the  effect  produced  by  placing  any  color  in 
contrast  with  gray. 

Dominant  harmony  is  the  effect  produced  by  combining  different  parts 
of  the  same  color  scale. 


OM.AMGC  YELLOW  i 


«  TINT  2. 


Example  of  dominant  harmony  in  tones  of  red. 


Complementary  harmony  is  the  effect  produced  by  combining  com- 
plementary colors. 


Tiis/T    1 


KEY  Tbm 


SHADE I 


TINT    1 


Ker 


SHAJDE:  1 


SCALC    or  RED 


F-   BLU 


Tones  of  the  red  scale  may  be  combined  with  tones  of  the  blue  green 
scale,  and  harmony  will  be  produced. 


THE   STUDY    OF   COLOR. 


129 


Analogous  harmony  is  the  effect  produced  by  combining  parts  of 
adjacent  color  scales,  selected  in  the  order  of  the  spectrum. 


1. 

_     Tl  NT  Z 

_   TJNT  1 
__  KEY  TON 
_  SHADE:  1 
_  SHADE:  2 

2 

3 

^ 

5 

If  the  tones  marked  1,  2,  3,  4,  5  are  combined,  the  result  will  be 
analogous  harmony.  Other  tones  chosen  from  adjacent  scales  may  also  be 
combined  to  produce  analogous  harmony. 

"  Also,  that  cloistered  wall  was  compassed  in 
With  pillars  wonderful  for  work  and  hue  ; 
This  one,  a  palm  stem;  that,  papyrus,  thin ; 
Yonder,  in  stone,  lotuses  pink  and  blue." 

EDWIN  ARNOLD. 


130  REQUIREMENTS   FOR  UNIFORM   EXAMINATIONS. 


BOOKS,  MANUALS,  AND   MATERIALS   FOR   CARRYING   OUT 
THE  WORK  IN   COLOR. 


For   the    study   of  color   in   a   unit  of  eighteen   colors,   and  for  the 
explanation  of  contrasted,  dominant,  complementary,  and  analogous  harmony, 

the  following  books  will  furnish  methods  :  — 

WHITE'S   NEW   COURSE   IN   ART   INSTRUCTION,    Manuals  for  Third  to 
Eighth  Year  inclusive. 

For  the  materials  for  working  out  designs  to  illustrate  the   different 
harmonies,  see  the  colored  papers  accompanying 

WHITE'S   NEW  COURSE   IN   ART   INSTRUCTION,    Books  3-8  inclusive. 


THE   STUDY   OF   FORM   AND   PERSPECTIVE.  131 

II.     THE  STUDY   OF  THE  FACTS  OF  FORM  AND  THE  REPRESENTATION 
OF  THESE  FACTS  BY  WORKING  DRAWINGS. 

The  following  statements  of  requirements  in  Form  Study  and  in 
Creometric  and  Working  Drawings  are  taken  from  Drawing  for  Use  in  Teachers' 
Institutes  and  Training  Classes,  issued  by  the  Department  of  Public  Instruc- 
tion of  the  State  of  New  York  in  1896. 

Geometric  terms.  —  Point,  line,  angle,  figure,  etc.  (For  definitions 
of  these  terms  see  the  Glossary  in  The  Prang  Complete  Course  Manuals, 
Parts  III.  and  //.) 

Geometric  solids.  —  Sphere,  ellipsoid,  ovoid,  etc.  (See  pages  19,  20 
of  this  manual  for  a  statement  of  these  solids.) 

Geometric  problems.  —  (Seepages  51  to  53,  of  this  manual  for  a  statement 
of  geometric  problems.  See  also  The  Prang  Book  of  Geometric  Problems.) 

The  use  of  instruments  and  drawing  boards.  —  (See  pages  48  to  51 
of  this  manual  for  the  description  of  the  use  of  instruments,  etc.  See  also 
Rou  ill  ion's  Mechanical  Drawing.) 

Projection.  —  (See  pages  54  to  59  of  this  manual  for  suggestions  in  this 
subject,  also  page  117  for  a  list  of  books  containing  matter  upon  this  subject.) 

III.    THE  STUDY  OF  PERSPECTIVE. 

The  statements  concerning  theoretic  perspective  found  on  pages  75  to  82  of 
this  manual  apply  to  the  requirements  in  this  subject  found  in  Drawing  for  Use 
of  Teachers'  Institutes  and  Training  Classes,  issued  by  the  Department  of 
Public  Instruction  in  the  State  of  New  York  in  1896. 

The  above-named  Manual  gives  very  full  statements  of  method  and  all 
necessary  definitions  and  illustrations  for  the  use  of  teachers  in  presenting 
the  subject  of  perspective  with  sufficient  thoroughness  to  prepare  for  the 
examinations  for  Teachers'  and  Training  Class  Certificates. 


132 


REQUIREMENTS   FOR   UNIFORM  EXAMINATIONS. 


ILLUSTRATIVE    DRAWING. 

The  following  illustrative  drawings  will  serve  to  give  an  idea  of  the 
general  trend  of  this  subject  in  the  public  schools.  It  is  intended  to  show 
the  use  of  illustrative  work  in  nature  study  (Studies  of  Birds},  historic 
houses  ( Washington's  Headquarters},  and  in  the  illustration  of  classic 
stories  (Pandora,  The  Princess). 


Studies  of  Birds. 
From  The  Prang  Elementary  Course  in  Art  Instruction,  Book  4. 


NOTE.  —  The  study  of  birds  as  a  subject  for  expression  by  drawing  is  not  so  difficult  as  to  be 
excluded  from  the  general  list  of  subjects  usually  classed  as  "  nature  study,"  and 
intended  for  illustrative  drawing.  Birds  are  the  delight  of  children,  and  what 
they  love  they  like  to  observe,  to  tell  about,  and  to  draw. 


ILLUSTRATIVE   DRAWING. 


133 


HISTORIC    BUILDINGS. 

NOTE.  —  The  associations  which  cluster  around  the  various  "headquarters"  of  Washington 
are  always  interesting,  and  often  touchingly  beautiful.  To  lead  pupils  to  the  appreciation 
of  the  human  side  of  any  great  character  —  as  Washington  —  seems  more  valuable  than  to 
labor  for  more  detailed  facts  in  history.  There  is  something  in  the  study  of  pictures  of  his- 
toric buildings  which  rouses  the  imagination  and  stimulates  the  interest  in  all  connected  with 
the  building.  Half  the  charm  in  the  wonderful  legends  of  King  Arthur  lies  in  the  mystery 
connected  with  the  "table"  around  which  the  knights  gathered.  Here  the  knights  icere 
known  by  full  description,  but  not  the  place  of  meeting.  In  the  case  of  the  historic  house 
the  order  is  reversed,  the  house  being  the  point  known,  —  the  individuals  to  be  sought. 
The  picture,  then,  will  rouse  just  the  inquiries  desired  to  bring  out  the  search  for  the  spirit 
and  lives  of  the  men  whose  deeds  made  the  building  it  represents  famous. 


Washington's  Headquarters,   Montclair,   N.J. 


From  The  Prang  Elementary  Course  in  Art  Instruction,  Book  4. 


134 


REQUIREMENTS   FOR   UNIFORM   EXAMINATIONS. 


NOTE.  —  C.  D.  Gibson,  whose  drawing  of  Pandora  is  given  below,  says  the  intention  is 
to  represent  Pandora  as  earnestly  wishing  to  open  the  box,  but  fearing  to  lift  the  lid.  The 
same  thought  is  expressed  in  the  folloioing  lines :  — 

"  Yon  mysterious  chest 
Attracts  and  fascinates  me.     Would  I  knew 
What  there  lies  hidden  !     But  the  oracle 
Forbids.     Ah  me !     The  secret  then  is  safe. 
So  would  it  be  if  it  were  in  my  keeping.  . 

A  crowd  of  shadowy  faces  from  the  mirrors 
That  line  these  walls  are  watching  me.     I  dare  not 
Lift  up  the  lid."  —  LONGFELLOW. 


Pandora. 


From  The  Prang  Elementary  Course  in  Art  Instruction,  Book 


ILLUSTRATIVE   DRAWING. 


135 


"S 

The  Princess. 


:?//trot(£j/i  o//i/?e  Wnr/y 

tiS  -  ~  M 

From  The  Prang  Elementary  Course  in  Art  Instruction,  Book  6. 


136  MATERIALS   FOR  PRESENTING   WORK. 


BOOKS,  MANUALS,  AND   MATERIALS   FOR   CARRYING   OUT 

THIS  WORK. 


Abundant  material  for  a  course  in  illustrative  drawing  will  be  found 
in  the  following  books  and  Manuals,  published  by  The  Prang  Educational 
Company :  — 

THE  PRANG  ELEMENTARY  COURSE  IN  ART  INSTRUCTION,  Books  1-6 
inclusive,  with  accompanying  MANUALS. 

THE  PRANG  COMPLETE  COURSE,  MANUAL  Part  IV. 
BARTHOLOMEW'S  SKETCHES  — several  sets,  both  elementary  and  advanced. 
WOODBURY'S  SKETCHES  — two  sets. 


SUGGESTIONS   FOR   UNIFORM   EXAMINATION.  137 

SUGGESTIONS 

FOR   THE   PREPARATION   FOR   UNIFORM  EXAMINATIONS. 

It  will  be  seen,  from  a  careful  study  of  the  preceding  work  of  the 
Regents'  Syllabus  and  of  the  Manual  on  Drawing  issued  by  the  Depart- 
ment of  Public  Instruction,  that  it  is  necessary  to  have  a  knowledge  of 
the  following  matter  in  order  to  meet  the  Uniform  Examinations  in  the 
State  of  New  York  :  - 

1.  A  knowledge  of  a  scheme  of  eighteen  colors  in  tints  and  shades,  and 

of  certain  harmonies  to  be  produced  by  combining  these  colors. 

2.  A  knowledge  of  the  type  forms  named  in  the  Regents'  Syllabus  No.  8. 

3.  A  knowledge  of  the  pictorial  representation  of  models  and  objects  in 

outline,  and  in  light  and  shade. 

4.  A  power  to  copy  sketches  of  landscapes,  houses,  etc.,  in  light  and 

shade. 

5.  A  knowledge  of  mechanical  perspective,  both  parallel  and  angular. 

6.  A  knowledge  of  geometric  problems. 

7.  A  knowledge  of  the  making  of  views  of  models,  of  sections  of  models^ 

and  of  objects. 

8.  A  knowledge  of  the  development  of  surfaces  of  models  and  sections 

of  models. 

9.  A  knowledge  of  the  drawing  of  ornament,  and  of  the  harmonious 

arrangement  of  colors  in  ornament. 

10.   A  knowledge  of  the  styles  of  historic  ornament,  and  of  some  exam- 
ples of  each  style. 

A  course  of  study  to  prepare  for  the  Uniform  Examinations  would, 
therefore,  need  to  include  these  subjects.  Such  a  course  would  require 
one  hundred  lessons  to  be  sufficiently  thorough.  A  suggested  course  is 
given  below. 


138 


SUGGESTED  COURSE   OF   STUDY. 


A   SUGGESTED   COURSE 

OF  ONE   HUNDRED  LESSONS   TO  PREPARE  FOR  THE   UNIFORM 

EXAMINATION  IN  DRAWING  FOR  A  FIRST 

GRADE  CERTIFICATE. 

Five  Lessons  in  the  study  of  color  and  color  harmonies. 

Five  Lessons  in  the  recognition  of  form  in  models  and  objects. 

Ten  Lessons  in  the  pictorial  representation  of  models  and  objects  in  out- 
line, and  in  light  and  shade. 

Five  Lessons  in  the  copying  of  sketches  of  landscapes,  etc. 

Fifteen  Lessons  in  mechanical  perspective. 

Five  Lessons  in  geometric  problems. 

Fifteen  Lessons  in  the  making  of  views  of  models,  sections  of  models,  and 
objects. 

Five  Lessons  in  the  development  of  surfaces  of  models  and  sections  of 
models. 

Fifteen  Lessons  in  the  drawing  of  ornament,  and  the  harmonious  arrange- 
ment of  color  in  ornament. 

Ten  Lessons  in  historic  ornament,  including  the  drawing  of  examples  of 
each  style. 

Ten  Lessons  for  general  review. 


NOTE.  —  The  books,  manuals,  etc.,  for  use  in  this  work  have  been 
subject  in  order. 


